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E-Mu Ultraproteus, Operation Manual

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UltraProteus Operation Manual

PRESET PROGRAMMING

FOOTSWITCH MODULATION

Changes a parameter when one of the three footswitches is pressed. The
footswitches can be programmed to switch: Sustain (pri/sec/both), Alternate
Volume Envelope (pri/sec/both), Alternate Volume Release (pri/sec/both), Cross-
Switch between the primary and secondary instruments, or Portamento On or
Off (pri/sec/both).

In addition, the footswitches can be used to execute conditional jumps in any of
the function generators.

MIDIPATCH

Connecting a modulation Source to a Destination is called a 

Patch

.

UltraProteus lets you connect the modulation sources in almost any possible
way to the modulation destinations. You can even modulate other modulators.
Each patch also has an amount parameter which determines “how much”
modulation is applied to the destination. The modulation amount can be
positive or negative and will either add or subtract from the initial value.

In order to create a modulation patch, you must connect a modulation Source
to a modulation Destination using either the Note-On, Realtime or Footswitch
Control screens. Think of it like connecting a cord. You must connect both ends
of the cord for the cord to work. There are 10 Note-On connections and 10
Realtime connections per preset.

Sources

LFO 1
LFO 2

Aux Env

Wheel

Pressure

MIDI

etc.

Destinations

Pitch

X-Fade

Volume

LFO Amt.

Filter Fc

Attack

etc.

Modulation

Source

Destination

/-

LFO 1

Primary

Volume

+

-

Summary of Contents for Ultraproteus

Page 1: ......

Page 2: ...ley CA USA 95067 0015 Telephone 408 438 1921 Fax 408 438 8612 UltraProteus Operation Manual 1994 E mu Systems Inc All Rights Reserved FI434 Rev A This product is covered under one or more of the following U S patents 3 969 682 3 986 423 4 404 529 4 506 579 4 699 038 4 987 600 5 013 105 5 072 645 5 111 727 and foreign patents and or pending patents UltraProteus is a registered trademark of E mu Sys...

Page 3: ...and grounded in accordance with all local codes and ordinances DANGER Improper connection of equipment grounding conductor can result in the risk of electric shock Check with a qualified electrician or service personnel if you are in doubt as to whether the product is properly grounded Do not modify the plug provided with this product if it will not fit the outlet have a proper outlet installed by...

Page 4: ...ng of the ears consult your physician 8 UltraProteus may be equipped with a polarized line plug one blade wider that the other This is a safety feature If you are unable to insert this plug into the outlet do not defeat the safety purpose of the plug Contact an electrician to replace your obsolete outlet 9 The power supply cord of UltraProteus should be unplugged from the outlet when left unused f...

Page 5: ...16 Playing the Demo Sequences 16 Master Menu 17 Enabling the Master Menu 19 Master Tune 19 Transpose 19 User Key Tuning 20 Global Bend 20 Global Velocity Curve 20 MIDI Mode 22 MIDI Mode Change 22 MIDI Program Change Map 23 MIDI Controller Assign 24 MIDI Footswitch Control 24 Send MIDI Data 24 Sysex Packet Delay 25 Proteus Sysex 26 Auto Select 26 Compare Mode 26 Viewing Angle 26 Midimap Menu 27 The...

Page 6: ...ions 41 Reverb 42 Stereo Flanger 46 Stereo Phaser 48 Stereo Chorus 49 Stereo Delay 50 Stereo Cross Delay 51 Stereo Echo 52 B Effects 53 Stereo Fuzz 54 Ring Modulator 55 HYPERPRESET MENU 57 The Hyperpreset 59 Enabling the Hyperpreset Menu 59 Hyperpreset Name 60 Preset to Zone Assignment 60 Zone Volume and Pan 61 Zone Key Range 61 Zone Velocity Range 62 Zone Velocity Offset 63 Zone Transpose 63 Zone...

Page 7: ...dulation Control 94 Realtime Modulation Control 95 Key Number 96 Velocity Curves 96 MIDI Realtime Controls 97 PRESET MENU 99 Enabling the Preset Menu 101 Preset Name 102 Primary Instrument 102 Secondary Instrument 102 Volume 103 Pan 103 Key Range 103 Primary Key Range 104 Secondary Key Range 104 Transpose 105 Coarse Pitch Tuning 105 Fine Pitch Tuning 105 Alternate Envelope On Off 105 Primary Alter...

Page 8: ...econdary Filter Type 113 Filter Level 113 Morph Offset 114 Filter Frequency Tracking 114 Filter Transform 2 115 Filter Reverse 116 Auxiliary Envelope 116 LFO 1 2 Shape Amount 117 LFO 1 2 Rate Delay Variation 117 Function Generator 1 and 2 118 Note On Modulation Control 122 Realtime Modulation Control 123 Footswitch Control 124 Pitch Bend Range 124 Pressure Amount 124 MIDI Controller Amount 124 Vel...

Page 9: ...y Channel 135 Copy Effects 135 Copy Program Change Map 135 Copy Bank 136 STEP BY STEP 137 Forward 139 Editing Presets 139 Starting From Scratch 140 The Instrument 140 Volume 141 Pan 141 Transpose 141 Coarse Tuning 142 Fine Tuning 142 Alternate Volume Envelope 143 Anatomy of an Envelope 144 Sound Delay 145 Sound Start 145 Application Sound Splicing 146 Time to Save 147 LFO Modulation 147 Modulating...

Page 10: ...ument Listing 164 B3 Wave Diagrams 171 Instrument Locations 172 Percussion Instrument Locations 173 Z Plane Filter Descriptions 178 Loop Offset Sample Locations 235 Function Generator Curves 239 Function Generator LFO Envelope Specifications 247 Technical Specifications 248 MIDI Implementation Chart 249 MIDI Specifications 250 SysEx Tutorial 277 INDEX 281 WARRANTY 285 TABLE OF CONTENTS viii ...

Page 11: ...Chapter 1 Basic Setup 1 UltraProteus INTRO BASIC SETUP ...

Page 12: ...UltraProteus Operation Manual 2 ...

Page 13: ... be combined or spliced modulated and then shaped through one of 288 Z Plane filters Sampled sounds can be re shaped and expressively controlled allowing you to articulate the subtle nuances of complex instruments The 16 bit sound samples are arranged into 256 preset locations 128 of which are user programmable 128 user programmable Hyperpresets allow ultra flexible keyboard mapping of presets The...

Page 14: ... and secondary layers of the preset are essentially two instruments with complete modulation controls The memory is organized into banks of 128 programmable RAM presets unalterable ROM presets and Hyperpresets I N S T R U M E N T I N S T R U M E N T P R E S E T P R I M A R Y S E C O N D A R Y Preset Preset Preset Preset Preset Preset Layer Keyboard Split 3 Zones Zone Zone Zone Presets Placed Adjac...

Page 15: ... of stereophonic sound Headphones can be used if an amplifier and speaker system is not available Plug stereo headphones into the headphone jack located on the left side of the front panel The Right Main output jack serves as a mono output when the Left Main plug is not plugged in The Left Main output jack serves as a stereo output when the Right Main plug is not plugged in R SUB2 L R SUB1 L R MAI...

Page 16: ...ed MIDI Out The MIDI Out jack is normally used to transmit MIDI System Exclusive data to a computer or other device Audio Outputs UltraProteus has three sets of programmable stereo outputs Main Sub 1 and Sub 2 Sub 1 is a non effects output Sub 2 is an effects only output Specific UltraProteus presets or MIDI channels can be routed to one of these stereo pairs in order to be further processed or mi...

Page 17: ...outputs via ring of plug MIDI In UltraProteus is controlled by MIDI messages received at the MIDI In connector Connect the MIDI In of UltraProteus to the MIDI Out connector of a MIDI controller such as a MIDI keyboard MIDI wind controller or MIDI guitar controller MIDI Thru The MIDI Thru jack is used to connect additional MIDI devices onto the MIDI chain MIDI Thru transmits an exact copy of the me...

Page 18: ...struments into the main outputs The Sub 1 and Sub 2 jacks can be used as effect returns to the Main Outputs POWER UP The power switch is located on the right side of the front panel UltraProteus and its MIDI controller may be turned on in any order When power is applied the liquid crystal display will light indicating that UltraProteus is operating You may have noticed that there is no 110 220 Vol...

Page 19: ...e Basic Sam pling System diagram As a sound wave strikes the diaphragm of a microphone a corresponding voltage is generated To sample the sound the voltage level is repeatedly measured over time and the corresponding data values are stored in memory To play the sound back the numbers are read back out of memory modified by the Z plane filter converted back into voltages then amplified and fed to a...

Page 20: ...UltraProteus Operation Manual 10 ...

Page 21: ...11 Chapter 2 Basic Operation UltraProteus BASIC OPERATION ...

Page 22: ...yperpresets to MIDI channels An LED to the left of the button indicates that you are working in the Midimap menu Preset Menu Select Button The Preset menu is used when you want to create or modify a preset The LED to the left of the button indicates that you are working in the Preset menu To Compare an edited preset with the unedited version simply exit Preset Edit mode The stored preset will be h...

Page 23: ...r is underneath the desired parameter Copy Button The copy menu allows you to copy selected groups of parameters between Presets Hyperpresets and Midimaps Home Enter Button The Home Enter button is used to confirm a particular operation or to return the cursor the Home position in the upper left corner main screen lower left The LED flashes to indicate that UltraProteus is waiting for your respons...

Page 24: ... displayed channel C01 VOL127 PAN P 000 Preset Name PRESET HYPERPRESET PROGRAM SELECTION Press the cursor key repeatedly or press Home Enter until the cursor is underneath the program number A Program is a Preset or a Hyperpreset As the data entry control is rotated the program number and name will change The displayed program will be assigned to the displayed MIDI channel Pro grams are arranged i...

Page 25: ...complete effects setup There are 16 Midimaps in UltraProteus and an additional 16 Midimaps can be stored on a memory card To Select a Midimap Press the Midimap key lighting the LED The current screen will be the one most recently selected since powering up UltraProteus The first screen in the menu is Midimap Select Move the cursor to the lower line and use the data entry control to select one of t...

Page 26: ...s you wish the UltraProteus to receive using the Preset Hyperpreset MIDI Channel selection screen in the Midimap menu page 31 4 Save the Midimap using the last screen in the Midimap menu 5 UltraProteus will now respond multi timbrally on the MIDI channels you have specified 6 The effects can be programmed and each MIDI channel assigned to an effects bus if so desired The volume and pan position ca...

Page 27: ...27 Chapter 4 Midimap Menu UltraProteus MIDIMAP MENU ...

Page 28: ...28 UltraProteus Operation Manual ...

Page 29: ...d on a memory card MIDIMAP MENU Midimaps are often used with UltraProteus connected to an external sequencer in MULTI mode Multi mode allows UltraProteus to receive MIDI data on all 16 channels simultaneously UltraProteus can store 16 different Midimaps The two digital effects processors are also part of the Midimap MIDIMAPS CAN ALSO BE CHANGED USING A SYSEX PARAMETER CHANGE COMMAND SEE PAGE 159 M...

Page 30: ...ss the Home Enter button or press the cursor key repeatedly until the cursor is underneath the screen title heading Rotate the data entry control to select another screen To modify a parameter Press the cursor button repeatedly or hold the cursor key while turning the data entry control until the cursor is underneath the parameter value Rotate the data entry control to change the value To return t...

Page 31: ...Pan Output Mix This function sets the Volume Pan Position and Output Mix for each MIDI channel in the selected Midimap Volume allows you to adjust the relative volume between programs Pan allows you to position each program in the stereo field The Volume control acts as an attenuator on the program volume It cannot increase the volume past the setting programmed in the program The Pan control Over...

Page 32: ...umber and use the data entry control to change the MIDI channel Position the cursor under the volume pan or mix and use the data entry control to change the value The volume and pan values are the same ones shown in the main screen The diagram below shows the function of Output Mix Select The Output Mix Select for each MIDI channel selects which bus in the Output Section will be used PLEASE NOTE T...

Page 33: ...teus to respond to the MIDI channels reserved for other devices Messages will be passed when On and filtered out when turned Off MIDI ENABLES C01 AllMessages On Bank Select The MIDI specification only allows for 128 presets per MIDI channel This function selects which bank of 128 presets will be used for incoming MIDI program change commands Banks can be set for each MIDI channel This function all...

Page 34: ...ed normally FX A This function allows you to select which effect is active on Effect Processor A Processor A effects include several types of reverb as well as other effects such as delays chorus flanger and phase shifter Each effect has one or more adjust able parameters which are accessed by moving the cursor to the lower line See the Effects section for detailed information on these functions F...

Page 35: ... adjust the ratio of dry unprocessed to wet pro cessed signal coming out of the effect processor A setting of 100 indicates that all of the signal is being processed by the effect The B A parameter allows you to adjust the amount of effect B which will be fed through the A effect If B A is set to one value above 100 the word Only is displayed and the B amount changes to Off This disconnects effect...

Page 36: ...Changes made to a Midimap are not made permanent until the Midimap is Saved To save a Midimap move the cursor to the bottom line and select one of the 16 locations with the data entry control The Enter LED will be flashing Pressing the Home Enter switch will confirm the operation Writing to a Midimap location erases the existing Midimap in that location Make sure that the location does not contain...

Page 37: ...37 Chapter 5 Effects Section UltraProteus EFFECTS SECTION ...

Page 38: ...38 UltraProteus Operation Manual ...

Page 39: ...as an Effects Preset although they store other parameters as well The Effects section in UltraProteus is located external to the preset in the Midimap menu Preset Effect A FX SETTINGS Effect B MIDIMAP EFFECTS SECTION Effect A FX SETTINGS Effect B MIDIMAP 00 16 Main Sub1 A B Preset MIDI Channel 01 FX 16 MIDI Channels For each of the 16 MIDI channels you may select Effect A Effect B the Main Outputs...

Page 40: ...Preset FXA ULTRAPROTEUS EFFECT BUS ARCHITECTURE The two stereo effect processors on UltraProteus are designated as A and B effects A effects contain Reverb and other effects The B effects do not include Reverbs but include a host of other great effects which are listed on page 53 Each effect has its own set of control parameters which are appropriate to that particular effect For both the A and B ...

Page 41: ...o route the output of effect B through effect A set the MIX to effect B FX AMOUNT A 50 B A 0 B 50 FXA FXB EFFECTS AMOUNT Wet Dry Mix Wet Dry Mix sum sum sum B A Amount A B 4 Select the desired Effect and program the appropriate parameters FXA Echo L Delay Time 255 5 Set the FX Output if you want to use the Sub 1 or Sub 2 outputs IF THE B A AMOUNT IS SET TO ONLY NO SOUND WILL RESULT IF NO EFFECT IS...

Page 42: ...ition there are several other reverb effects such as Early Reflections and Rain There is only one adjustable parameter on the reverbs Decay Time Decay time is the length of time that it takes for the reflected sound from the walls of the room to die away In general the larger the room the longer the decay time The diagram below breaks down the reverberated sound into its component parts After an i...

Page 43: ...everb The decay times of the reverb programs range from 10 255 The ambience control of the Early Reflection programs range from 0 100 Room A bright medium sized room The apparent source position is fairly close to the listener Suitable for use with 100 wet mix setting for adding ambience Warm Room This reverb is similar to Room with more high frequency absorption slightly larger size and a more di...

Page 44: ...lection buildup both of which contribute to the impression of a large space Wet mix values of 10 to 50 are most appropriate although a setting of 100 produces an effective cave simulation Chamber 1 A simulation of a bright medium sized chamber reverb or recital hall with hard walls Early reflections are very prominent with high reflection density Moder ately long decays are possible at the maximum...

Page 45: ... contains a set of exponentially increasing delay taps creating a kind of zip sound at low Ambience settings At maximum ambience and lower wet mix values the sound is more authentically acoustic with a long delayed reflection bloom The effect is similar to a large but well damped parking garage SPECIAL REVERBS These special reverbs all have a single Decay Time parameter Rain Similar to a repeating...

Page 46: ...cally rich sounds such as strings The flanging effect was originally created using two tape recorders playing identical recordings By exactly synchronizing the two decks and then slowing the speed of one by grasping the tape reel flanges the flanging effect was born The flanger in the UltraProteus is a stereo device consisting of two separate delay lines controlled by a single set of controls The ...

Page 47: ...e controls the rate of change and the LFO Depth controls how much the delay is changed by the LFO The LFO adds to the initial delay time so that with LFO Depth set to 255 the maximum delay time is 13 milliseconds FXA StereoFlange LFO Rate 038 FXA StereoFlange LFO Depth 150 The Feedback control sends some of the delayed signal through the delay line again When positive feedback is used values 1 to ...

Page 48: ...anger although much more subtle The phaser creates a swirly animation when used with harmonically rich sounds such as strings and voices It can also be used like a chorus to thicken up a thin sound LFO LFO Depth LFO Rate R Output Feedback Amount R Input L Output Minimum Freq L Input Phase Shifter Phase Shifter FXA Phaser LFO Depth 100 FXA Phaser Feedback 064 ...

Page 49: ...n The delay times are slightly different for each channel and the LFO phase is inverted on the right channel to help contribute to the overall chorus effect The LFO Rate and Depth settings are critical to achieving a realistic effect with faster LFO Rates generally requiring less LFO Amount and vice versa The stereo chorus in the UltraProteus is very similar to the stereo flanger except that the d...

Page 50: ...t and right delays as well as how much signal from each is supplied to the feedback control Feedback controls how many echoes are produced A setting of 0 produces only one echo The delay line is incredibly Delay The delay line is a stereo effect which can be used for doubling echoes or fixed formant comb filtering with completely independent delay time and tap levels for the left and right sides T...

Page 51: ...me left and right FXA Delay L DelayTime 060 FXA Delay L Tap Level 120 EFFECTS SECTION FXA Delay Feedback 255 Cross Delay Cross Delay is identical to the normal delay line except that the output paths and the feedback paths cross over to the opposite channel in order to produce a ping pong type of effect when reproduced in stereo Delay time is adjustable from 0 to 209 milliseconds The Cross Delay i...

Page 52: ...g tape echo The left and right signals are kept completely independent throughout the effect and have separate controls except the feedback amount control which affects both channels EFFECTS SECTION FXA Echo L DelayTime 120 FXA Echo L Tap Level 127 FXA Echo R DelayTime 100 FXA Echo R Tap Level 127 FXA Echo Feedback 100 R Output Right Delay Feedback Amount R Input Delay Right Tap Level L Output Lef...

Page 53: ...o Delay B The B Delay is identical to the delay line in the A effect group except that the maximum delay time is 104 milliseconds instead of 209 milliseconds This delay is useful for short echoes slapback and doubling effects as well as for fixed formant comb filtering Like Stereo Delay A the feedback parameter is extremely stable even with high amounts making it useful as a resonator for infinite...

Page 54: ...onic content as well as the volume Output Volume sets the output level of the fuzz There are two complete fuzz effects controlled by the same set of controls as shown in the diagram below EFFECTS SECTION R Output R Input L Input L Output Input Filter Fuzz Output Filter LowPass LowPass Input Filter Fuzz Output Filter LowPass LowPass Output Volume Output Volume Two independent sounds can be processe...

Page 55: ... each signal multiplies every other according to its amplitude As a result ring modulators tend to generate a lot of non harmonic frequencies which can sound very bell like or out of tune FREQUENCY Hz AMPLITUDE 200 FREQUENCY Hz AMPLITUDE 800 FREQUENCY Hz AMPLITUDE 200 600 800 1000 Left Right Result 200 Hz 800 Hz 600 1000 Hz pri sec This diagram shows the result of Ring Modulating two sine waves wi...

Page 56: ...la tion works well with simple waves such as sine waves and the harmonic wave forms Also try complex waves modulated with sine waves Play chords Complex waveforms tend to sound rather noise like R L R Output L Output Ring Modulator Pan R Pri DCA Pan L Sec DCA Pan the primary and secondary instruments to left and right in the pan screen then move to the Effect B screen and select Ring Modulator The...

Page 57: ...37 Chapter 5 Effects Section UltraProteus EFFECTS SECTION ...

Page 58: ...38 UltraProteus Operation Manual ...

Page 59: ...as an Effects Preset although they store other parameters as well The Effects section in UltraProteus is located external to the preset in the Midimap menu Preset Effect A FX SETTINGS Effect B MIDIMAP EFFECTS SECTION Effect A FX SETTINGS Effect B MIDIMAP 00 16 Main Sub1 A B Preset MIDI Channel 01 FX 16 MIDI Channels For each of the 16 MIDI channels you may select Effect A Effect B the Main Outputs...

Page 60: ...Preset FXA ULTRAPROTEUS EFFECT BUS ARCHITECTURE The two stereo effect processors on UltraProteus are designated as A and B effects A effects contain Reverb and other effects The B effects do not include Reverbs but include a host of other great effects which are listed on page 53 Each effect has its own set of control parameters which are appropriate to that particular effect For both the A and B ...

Page 61: ...o route the output of effect B through effect A set the MIX to effect B FX AMOUNT A 50 B A 0 B 50 FXA FXB EFFECTS AMOUNT Wet Dry Mix Wet Dry Mix sum sum sum B A Amount A B 4 Select the desired Effect and program the appropriate parameters FXA Echo L Delay Time 255 5 Set the FX Output if you want to use the Sub 1 or Sub 2 outputs IF THE B A AMOUNT IS SET TO ONLY NO SOUND WILL RESULT IF NO EFFECT IS...

Page 62: ...ition there are several other reverb effects such as Early Reflections and Rain There is only one adjustable parameter on the reverbs Decay Time Decay time is the length of time that it takes for the reflected sound from the walls of the room to die away In general the larger the room the longer the decay time The diagram below breaks down the reverberated sound into its component parts After an i...

Page 63: ...everb The decay times of the reverb programs range from 10 255 The ambience control of the Early Reflection programs range from 0 100 Room A bright medium sized room The apparent source position is fairly close to the listener Suitable for use with 100 wet mix setting for adding ambience Warm Room This reverb is similar to Room with more high frequency absorption slightly larger size and a more di...

Page 64: ...lection buildup both of which contribute to the impression of a large space Wet mix values of 10 to 50 are most appropriate although a setting of 100 produces an effective cave simulation Chamber 1 A simulation of a bright medium sized chamber reverb or recital hall with hard walls Early reflections are very prominent with high reflection density Moder ately long decays are possible at the maximum...

Page 65: ... contains a set of exponentially increasing delay taps creating a kind of zip sound at low Ambience settings At maximum ambience and lower wet mix values the sound is more authentically acoustic with a long delayed reflection bloom The effect is similar to a large but well damped parking garage SPECIAL REVERBS These special reverbs all have a single Decay Time parameter Rain Similar to a repeating...

Page 66: ...cally rich sounds such as strings The flanging effect was originally created using two tape recorders playing identical recordings By exactly synchronizing the two decks and then slowing the speed of one by grasping the tape reel flanges the flanging effect was born The flanger in the UltraProteus is a stereo device consisting of two separate delay lines controlled by a single set of controls The ...

Page 67: ...e controls the rate of change and the LFO Depth controls how much the delay is changed by the LFO The LFO adds to the initial delay time so that with LFO Depth set to 255 the maximum delay time is 13 milliseconds FXA StereoFlange LFO Rate 038 FXA StereoFlange LFO Depth 150 The Feedback control sends some of the delayed signal through the delay line again When positive feedback is used values 1 to ...

Page 68: ...anger although much more subtle The phaser creates a swirly animation when used with harmonically rich sounds such as strings and voices It can also be used like a chorus to thicken up a thin sound LFO LFO Depth LFO Rate R Output Feedback Amount R Input L Output Minimum Freq L Input Phase Shifter Phase Shifter FXA Phaser LFO Depth 100 FXA Phaser Feedback 064 ...

Page 69: ...n The delay times are slightly different for each channel and the LFO phase is inverted on the right channel to help contribute to the overall chorus effect The LFO Rate and Depth settings are critical to achieving a realistic effect with faster LFO Rates generally requiring less LFO Amount and vice versa The stereo chorus in the UltraProteus is very similar to the stereo flanger except that the d...

Page 70: ...t and right delays as well as how much signal from each is supplied to the feedback control Feedback controls how many echoes are produced A setting of 0 produces only one echo The delay line is incredibly Delay The delay line is a stereo effect which can be used for doubling echoes or fixed formant comb filtering with completely independent delay time and tap levels for the left and right sides T...

Page 71: ...me left and right FXA Delay L DelayTime 060 FXA Delay L Tap Level 120 EFFECTS SECTION FXA Delay Feedback 255 Cross Delay Cross Delay is identical to the normal delay line except that the output paths and the feedback paths cross over to the opposite channel in order to produce a ping pong type of effect when reproduced in stereo Delay time is adjustable from 0 to 209 milliseconds The Cross Delay i...

Page 72: ...g tape echo The left and right signals are kept completely independent throughout the effect and have separate controls except the feedback amount control which affects both channels EFFECTS SECTION FXA Echo L DelayTime 120 FXA Echo L Tap Level 127 FXA Echo R DelayTime 100 FXA Echo R Tap Level 127 FXA Echo Feedback 100 R Output Right Delay Feedback Amount R Input Delay Right Tap Level L Output Lef...

Page 73: ...o Delay B The B Delay is identical to the delay line in the A effect group except that the maximum delay time is 104 milliseconds instead of 209 milliseconds This delay is useful for short echoes slapback and doubling effects as well as for fixed formant comb filtering Like Stereo Delay A the feedback parameter is extremely stable even with high amounts making it useful as a resonator for infinite...

Page 74: ...onic content as well as the volume Output Volume sets the output level of the fuzz There are two complete fuzz effects controlled by the same set of controls as shown in the diagram below EFFECTS SECTION R Output R Input L Input L Output Input Filter Fuzz Output Filter LowPass LowPass Input Filter Fuzz Output Filter LowPass LowPass Output Volume Output Volume Two independent sounds can be processe...

Page 75: ... each signal multiplies every other according to its amplitude As a result ring modulators tend to generate a lot of non harmonic frequencies which can sound very bell like or out of tune FREQUENCY Hz AMPLITUDE 200 FREQUENCY Hz AMPLITUDE 800 FREQUENCY Hz AMPLITUDE 200 600 800 1000 Left Right Result 200 Hz 800 Hz 600 1000 Hz pri sec This diagram shows the result of Ring Modulating two sine waves wi...

Page 76: ...la tion works well with simple waves such as sine waves and the harmonic wave forms Also try complex waves modulated with sine waves Play chords Complex waveforms tend to sound rather noise like R L R Output L Output Ring Modulator Pan R Pri DCA Pan L Sec DCA Pan the primary and secondary instruments to left and right in the pan screen then move to the Effect B screen and select Ring Modulator The...

Page 77: ...57 Chapter 6 Hyperpreset Menu UltraProteus HYPERPRESET MENU ...

Page 78: ...58 UltraProteus Operation Manual ...

Page 79: ...E TURNED ON IN THE MASTER MENU FOR THE COMPARE FEATURE TO WORK To enable the Hyperpreset menu Press the Hyper button lighting the LED The current screen will be the one most recently selected since powering up UltraProteus The Hyperpreset to be edited will be the LAST one selected or edited The cursor will appear underneath the first character of the screen heading on line one To select a new scre...

Page 80: ...NCTIONS Hyperpreset Name Hyperpreset Name allows you to name each of the 128 hyperpresets with a name of up to 12 characters Position the cursor under the character location and use the data entry control to change the character The keyboard can also be used to select characters The chart below shows the keyboard character assignments HYPERPRESET NAME 000 Bass Lead IF THE AUTO SELECT FUNCTION IN T...

Page 81: ...e volume or pan number and use the data entry control to change the value for each zone VOLUME PAN Z01 127 00 Zone Key Range Key range sets the keyboard range associated with each of the sixteen possible zones The key range of each zone can be set anywhere from key C 2 to G8 HYPERPRESET MENU C 2 C 1 C0 C1 C2 C3 C4 C5 C6 C7 C8 Standard 5 Octave Keyboard Range UltraProteus Keyboard Range MIDI Key Ke...

Page 82: ...ets will be selected according to the keyboard velocity Imagine two presets assigned to the same keyboard range If one preset were assigned the velocity range 000 to 64 and the other to velocity range 65 to 127 key velocities below 65 would select the first preset and key velocities 65 and above would select the second preset Because there are sixteen possible zones presets can be layered 16 deep ...

Page 83: ...e range of the transpose function is 36 semitones three octaves up or down Transpose shifts the relative position of the keyboard in relation to middle C rather than actually changing the tuning of the zone TRANSPOSE Z01 36 Zone Pitch Tune The tuning of each zone can be adjusted in coarse and fine increments The coarse tuning adjustment tunes the zone in semitone increments This is different from ...

Page 84: ...ithout having notes glide in from random starting points The number of keys can be set from mono to five note polyphonic PORTAMENTO MODE Poly 2 keys Free Run Function Generator The function generator is another kind of modulation source which is much more programmable than an envelope generator or an LFO although it can function as either The function generator can be used when you want the type o...

Page 85: ...NUAL FOR ADDITIONAL INFORMATION ON THE FUNCTION GENERATORS For example you could program the Free Run FG to be an LFO and modulate the pitch All the voices in all presets in that hyperpreset with Free Run FG assigned would modulate up and down in unison The Free Run FG begins the instant the hyperpreset is selected and continues to run until stopped by its programming or when another hyperpreset i...

Page 86: ... immediately if the note is off Footsw 1 3 End Jumps at the end of the segment if the selected Footswitch is pressed Footsw 1 3 Imm Jumps immediately if the selected Footswitch is pressed Save Hyperpreset Changes made to a hyperpreset are NOT made permanent until the hyperpreset is Saved To save a hyperpreset move the cursor to the bottom line and select the location for the new hyperpreset with t...

Page 87: ...83 Chapter 7 Preset Programming PRESET PROGRAMMING ...

Page 88: ...mplest form of sound wave Any waveform except a sine wave can be analyzed as a mix of sine waves at specific frequencies and amplitudes One way to represent complex waveforms is to use a chart with frequency on one axis and amplitude on the other Each vertical line of the chart represents one sine wave at a specific amplitude and frequency Any waveform can be analyzed as a mixture of sine waves FI...

Page 89: ... certain components of a sound depending on its fre quency For example a Low Pass Filter lets the low frequencies pass and removes only the high frequencies 20 40 60 80 100 40 80 160 360 720 1440 2880 Frequency Amplitude Output of Filter Low Pass Filter Cutoff Frequency A filter that lets only the high frequencies pass is called a High Pass Filter 20 40 60 80 100 40 80 160 360 720 1440 2880 Freque...

Page 90: ...d amplified as the resonant peak sweeps over them Bells and gongs are real world examples of sounds which have a high Q Another characteristic of a filter is the number of poles it contains Traditional synthesizer filters were usually either 2 pole or 4 pole filters The number of poles in a filter describes the steepness of its slope The more poles the steeper the filter s slope and the stronger t...

Page 91: ... sound as well as simulate the response of many natural instruments PARAMETRIC FILTERS A more complex type of filter is called a parametric filter A parametric filter gives you control over three basic parameters of the filter The three param eters are Frequency Bandwidth and Boost Cut The Frequency parameter allows you to select a range of frequencies to be boosted or cut the Bandwidth parameter ...

Page 92: ...ample of its power the diagram below shows one of the possible ways that the UltraProteus filter can be configured This amount of filtering is unprecedented in all of electronic music history Especially when you consider that we are only talking about one of the 32 channels Right away you can see that we now have 20 different parameters to control Ah there s the catch How can all these parameters ...

Page 93: ...lex filters and interpolate between them using a single parameter Refer to the diagram below Filters A and B represent two different complex filters By changing a single parameter the Morph many complex filter parameters can now be changed simultaneously Following along the Morph axis you can see that the filter response smoothly interpolates between the two filters This is the essence of the Z pl...

Page 94: ...e simplest way to visualize a UltraProteus filter The next logical extension of this two filter model would be to add yet another filter pair The diagram below shows an example using four filters Now we have two parameters that can be controlled SEE THE STEP BY STEP CHAPTER FOR MORE INFORMATION ON THE Z PLANE FILTERS Morph The diagram above adds a Frequency Tracking parameter which varies the freq...

Page 95: ...s you move up the keyboard and could sound completely different at opposite ends of the keyboard Because Frequency Tracking is so important it has been assigned its own parameter which is used in many of the filters there are exceptions In the filter model above there is another note on defined at the time the note is pressed parameter Transform 2 Unlike the Frequency Tracking parameter the effect...

Page 96: ...s are models of traditional acoustic instruments such as electric piano or guitar When an electric piano sample is played through an electric piano filter the harmonics of the sample can now be controlled using the filter parameters Of course you can put any instrument through the filter and the filter will shape the basic character of the instrument This building block approach to synthesis is on...

Page 97: ...omes Z Plane Filter The Z Plane Filter controls the harmonic content of an instrument in a highly controlled manner Any modulation source can be used to control the various aspects of this complex filter DCA Digitally Controlled Amplifier Together with the Alternate Volume AHDSR the DCA is used to shape the volume contour of a sound The DCA can be controlled by any modulation source Key Velocity i...

Page 98: ...Y PRIMARY DECAY SECONDARY DECAY RELEASE PRIMARY RELEASE SECONDARY RELEASE CROSSFADE LFO 1 AMOUNT LFO 1 RATE LFO 2 AMOUNT LFO 2 RATE AUXILIARY ENVELOPE AMOUNT AUXILIARY ENVELOPE ATTACK AUXILIARY ENVELOPE DECAY AUXILIARY ENVELOPE RELEASE FUNCTION GEN 1 AMOUNT FUNCTION GEN 2 AMOUNT PORTAMENTO RATE PRIMARY PORTAMENTO RATE SECONDARY PORTAMENTO RATE FILTER MORPH PRIMARY FILTER MORPH SECONDARY FILTER MOR...

Page 99: ...ons in comparison are set at the key depression Modulation sources must be connected to a destination in order to have any effect The diagram and the LCD screen above show how modulation sources are connected to destinations The modulation sources can control any of the destinations indicated by the small arrows The possible modulation routings are completely flexible as shown in the diagram above...

Page 100: ...ove A1 and progressively softer below A1 VELOCITY CURVES Incoming velocity values can be scaled by one of the four velocity curves or by one of the eight Global velocity curves in order to match your playing style or better adapt to the MIDI controller Experiment with the curves to find the one that works best for your style and MIDI controller Curve 1 0 20 40 60 80 100 120 0 20 40 60 80 100 Playe...

Page 101: ...tinuous controller 7 Common realtime controllers such as the pitch wheel volume pan and pres sure are pre programmed to their proper destinations Your keyboard may have MIDI WIND CONTROLLERS MAY WORK BETTER IF YOU ASSIGN ONE OF THE MIDI A B C D CONTROLLERS TO CONTROL VOLUME THIS WILL ALLOW THE MIDI VOLUME TO BE ADDED TO THE CURRENT VOLUME Note On Off Continuous Controllers MIDI Channel 16 Program ...

Page 102: ...tinations or even to the same destination The MIDI Controller Amount menu in the Preset menu allows you to scale the amounts of each of the controllers by a positive or negative value The signal flow is shown in the diagram below 0 1 2 3 31 MIDI Controller C Control Destinations Master Menu Edit Menu A B C D 0 1 2 3 31 MIDI Controller A 0 1 2 3 31 MIDI Controller B 0 1 2 3 31 MIDI Controller D MID...

Page 103: ...67 Chapter 7 Preset Programming PRESET PROGRAMMING UltraProteus PRESET PROGRAMMING ...

Page 104: ...68 UltraProteus Operation Manual PRESET PROGRAMMING ...

Page 105: ...tory presets Editing Presets It s easy to create new presets by using the Preset Edit menu to modify existing presets This is really the best way of getting aquainted with UltraProteus If you don t like the results simply change the preset momentarily and you ll be back to the original sound Changes are not made permanent until you SAVE a preset Therefore you can experiment all you want with Prese...

Page 106: ...that for each of the variable parameters such as the volume there is an initial setting which can be changed by a modulation source Therefore in the case of volume we have an initial volume and we can change or modulate that volume with a modulation source Positive modulation Adds to the initial amount Negative modulation Subtracts from the initial amount The main modulation sources on UltraProteu...

Page 107: ...er pitch bend wheel Miscellaneous Controllers A B C D Any type of MIDI continuous controller data Keyboard Pressure mono aftertouch Key Pressure applied after the key is initially pressed Polyphonic Key Pressure Key Pressure from a controller capable of generating polyphonic pressure data Low Frequency Oscillators 2 per preset Generate repeating waves Envelope Generators 3 per preset Generate a pr...

Page 108: ...in almost any possible way to the modulation destinations You can even modulate other modulators Each patch also has an amount parameter which determines how much modulation is applied to the destination The modulation amount can be positive or negative and will either add or subtract from the initial value In order to create a modulation patch you must connect a modulation Source to a modulation ...

Page 109: ...g the Alternate Volume Envelope you can simulate different types of instrument volume envelopes by programming them appropriately By routing the Auxiliary Envelope to control the pitch realtime control screen you can easily hear the shape of the envelopes you are creating The envelope generator parameters can be described as follows Refer to the diagrams on the following page Delay The time betwee...

Page 110: ... begins 1 When a key is pressed the envelope generator waits for the specified Delay time then begins to increase at the Attack rate 2 At full level it waits for the specified Hold time before gliding down at the Decay rate coming to rest at the Sustain level 3 The envelope remains at the Sustain level until the key is released then it glides back down to zero at the programmed Release rate level ...

Page 111: ...of an instrument is an easy way to hear the effects of the LFO waves Like the Auxiliary Envelope the LFOs can be routed to control any realtime functions such as Pitch Filter Panning or Volume A common use for the LFO is to control the pitch of the sound LFO Pitch This effect is called vibrato and is an important performance parameter Many presets use this routing with the modulation wheel control...

Page 112: ...ere are 63 different shapes to choose from many of which have unusual shapes or are random in nature The function generator also has the ability to jump from one segment to an other based on certain programmable conditions For example the function generator could be programmed to jump back to segment 5 if the key is held but jump to segment 8 whenever the key is released L1 T1 L2 L3 L4 L5 L6 L7 L8...

Page 113: ... note is off Note Off Immed Jumps immediately if the note is off LFO 1 or 2 End Jumps at the end of the segment if the value of the selected LFO is equal or greater than the conditional value Footsw 1 3 End Jumps at the end of the segment if the selected Foot switch is pressed Footsw 1 3 Immed Jumps immediately if the selected Footswitch is pressed Velocity End Jumps at the end of the segment if t...

Page 114: ...ming the function generators can get a little complicated For this reason it is suggested that you draw out your ideas on paper beforehand Remember that you always jump to the beginning of a segment A conditional jump could be programmed to skip a group of segments based on the key velocity In the example below segments 2 and 3 would only be played if the velocity value were 84 or above Velocity v...

Page 115: ...the level value of a function generator one unit past 127 The delta symbol appears in the value field FUNC GEN F1S1 Level 127 Delta Level causes the level to change by the specified amount instead of going to an absolute level value If Level 1 was set to 127 and Level 2 was 027 then the resulting level 2 value would be 100 127 27 100 The Level parameter can be quite useful when looping segments In...

Page 116: ...erator to go to a random value which does not exceed the random level specified If a random level of 48 were programmed the level could go to any value between 0 and 48 If a value of 48 were programmed the level could go to any value between 0 and 48 The random level parameter then is a limit on the degree of randomness and is useful for creating smooth random curves Smooth random curves can be us...

Page 117: ...1 Note that the level may exceed the values of 16 as long as the amount of change in one segment does not exceed these values The example above shows a smooth random generator whose rate of change is limited to 16 FREE RUNNING FUNCTION GENERATOR Hyperpresets contain a slightly different version of the function generator called a Free Running Function Generator or Free Run FG The Free Run FG is onl...

Page 118: ...ion Generator per MIDI channel which can affect any or all presets in a Hyperpreset The Free Run Function Generator begins running the instant the Hyperpreset is selected FREE RUN FUNCTION GENERATOR MIDI CHANNEL Preset Preset Preset Preset Free Run Func Gen HYPERPRESET UltraProteus Voice Preset Function Generator UltraProteus Voice Preset Function Generator UltraProteus Voice Preset Function Gener...

Page 119: ...nditional jumps are more limited The conditional jumps are listed below Never Never jumps Always goes on to next segment Always End Always jump at the end of the current segment Note On End Jumps at the end of the segment if the note is still on Note On Imm Jumps immediately if the note is still on Note Off End Jumps at the end of the segment if the note is off Note Off Imm Jumps immediately if th...

Page 120: ...99 Chapter 8 Preset Menu UltraProteus PRESET MENU ...

Page 121: ...100 UltraProteus Operation Manual ...

Page 122: ... underneath the first character of the screen heading on line one To select a new screen Press the Home Enter button or press a cursor button repeatedly until the cursor is underneath the screen title heading Rotate the data entry control to select another screen To modify a parameter Press the cursor button repeatedly or hold the right cursor button while turning the data entry control until the ...

Page 123: ...his function allows you to select which of the available instrument sounds or none will be placed on the primary layer of the current user preset INSTRUMENT pri I001 StereoGrand Secondary Instrument This function allows you to select which of the available instrument sounds or none will be placed on the secondary layer of the current user preset INSTRUMENT sec I037 Solo Cello CHANGING THE INSTRUME...

Page 124: ...t and a value of 7 pans the instrument hard right This pan setting is only valid if P for preset pan is selected in the main display or the Midimap PAN pri 7 sec 7 Key Range Key range sets the keyboard range of both primary and secondary instruments This sets the keyboard range for the entire preset and will further limit the primary and secondary keyboard ranges The key range can be set anywhere ...

Page 125: ...econdary instrument The key range can be set anywhere from C 2 to G8 KEY RANGE sec G 4 G8 PRESET MENU This diagram shows how instruments can be layered or stacked using the primary and secondary instruments This diagram shows how a split keyboard can be programmed using the primary and secondary instruments ENTIRE PRESETS CAN ALSO BE COMBINED TO FORM SPLIT OR LAYERED KEYBOARDS SEE THE CHAPTER ON H...

Page 126: ...Pitch Tuning This function allows you to change the tuning of the primary and secondary instruments in 1 64 semitone intervals approx 1 56 cents The fine tuning range is 1 semitone PITCH TUNE fine pri 00 sec 00 Alternate Volume Envelope On Off Each instrument has its own factory preset AHDSR volume envelope which is used if this parameter is set to Off Turn Alternate Volume Envelope On to use the ...

Page 127: ...e and are adjustable from 00 to 99 S A H D S R 00 00 00 99 16 Double Detune Double Detune thickens the sound by doubling the sound and then detuning it The amount is variable over a range of 1 to 15 When Double Detune is on a particular instrument will use twice as many channels If Double Detune is used for both the primary and secondary instruments the preset will use four channels per key DOUBLE...

Page 128: ...RT pri 000 sec 000 The Sound Start parameter allows you to cut off the beginning of the sound Higher values move the start point toward the end of the sound SEE THE STEP BY STEP SECTION OF THIS MANUAL FOR AN APPLICATION USING SOUND START Sound Start Sound Reverse When sound reverse is turned On the instrument will be played backwards Since instruments tend to sound very different when reversed thi...

Page 129: ...he Loop Size so you can create your own loops By looping the sound on the attack portion of an instrument you can create new waveforms The Loop Start and Loop Size parameters can cross sample boundaries so that more than one instrument will play Sample boundary crossing may be useful to create a special effect or background ambience A Start and Size Offset of 000 000 returns you to the factory loo...

Page 130: ... in when a new key is pressed When playing legato the envelope generator stays in the sustain phase SOLO MODE p Off s Wind SOUNDS ARE LOOPED SO THAT THEY WILL CONTINUE TO SOUND AS LONG AS THE KEY IS PRESSED Piano Choir Strings Brass Synth Loop Loop Start Point Loop Sample Memory Start Point Strings Loop Loop Size Brass Synth Sample Memory Changing the Loop Offset Start point moves the loop forward...

Page 131: ...are being held in solo mode only the note last pressed will play If the note is released no jumping occurs SOLO PRIORITY p Low s Hi Portamento Rate Portamento is a smooth gliding between notes instead of the normal instanta neous change in pitch when a new key is pressed The portamento rate is the time it takes to glide to the new pitch The larger the value the slower the glide rate The rate is ad...

Page 132: ...plished without having notes glide in from random starting points The number of keys can be set from mono to 5 note polyphonic PORTAMENTO MODE Poly 2 keys Crossfade Mode This function determines which of the following crossfade modes will be selected Off Crossfade or Cross Switch Off When Off is selected crossfade is disabled Crossfade When X Fade is selected a control input is used to fade betwee...

Page 133: ...irection is Pri Sec Modulation subtracts from the primary volume and adds to the secondary volume When crossfade modulation and balance equal 64 the two instruments are at equal volume The crossfade amount parameter determines the range over which crossfading will occur Crossfade amount is variable from 000 to 255 The larger the value the more modulation will be required to effect a complete cross...

Page 134: ...condary layer See Primary Filter Type FILTER TYPE sec F269 TensionWire Filter Level This function sets the amount of signal into the filter This control can be used to balance the levels between instruments or to control the distortion charac teristics of the filter Depending on the type of instrument and the filter this control can have a dramatic effect on the sound This control differs from the...

Page 135: ...he pitch of a sound is varied the timbre of the sound will change with pitch A way to correct this is to have the filter s frequency track the pitch of the note This function sets the initial frequency of the filter s pitch tracking In general you can think of frequency tracking as a tone control In order to have keyboard tracking you must also patch the Keyboard to Filter Frequency Tracking in th...

Page 136: ...the filter model We have the realtime Morph parameter the Frequency Tracking parameter set at note on time and one more parameter perhaps controlling the amount of the filter peaks with key velocity A way to visualize a three dimensional filter model is shown in the diagram below Key Number Morph Envelope Wheel LFO etc Filter Frequency Tracking Frequency Key Number Frequency Tracking Transform 2 V...

Page 137: ...uent modulation from note on modulation adds to this initial setting for the primary and secondary filters FILT TRANSFORM 2 pri 000 sec 127 Filter Reverse This function allows you to reverse the direction of all of the filter controls Key Tracking Transform 2 and the Morph parameters will all operate in reverse The Offset points are reversed as well as the direction of filter modulation FILTER REV...

Page 138: ...0 052 Hz to 25 Hz 000 127 LFO Delay Sets the amount of time between hitting a key and the onset of modula tion This can be used to simulate an effect often used by acoustic instru ment players where the vibrato is brought in only after the initial note pitch has been established The delay range is variable from 0 to 13 sec onds 000 127 LFO Variation Sets the amount of random variation of an LFO ea...

Page 139: ...rovided for each stage In addition the shape of each stage can be individually selected from a palette of 63 shapes The function generator can be used when you want complex and precise control over a parameter Through the creative use of its conditional jumps and curves the function generator can serve as a complex LFO a complex envelope generator a mini sequencer a random source or all at once if...

Page 140: ...tion of this manual for the complete set of function generator curve diagrams FUNCTION GENERATOR CURVES LINEAR EXPONENTIAL 1 EXPONENTIAL 2 EXPONENTIAL 3 EXPONENTIAL 4 EXPONENTIAL 5 EXPONENTIAL 6 EXPONENTIAL 7 CIRCLE 1 4 CIRCLE 1 6 CIRCLE 1 8 CIRCLE 1 16 SQUEEZE FAST LINE 1 FAST LINE 2 FAST LINE 3 MEDIUM LINE 1 MEDIUM LINE 2 SLOW RAMP 1 SLOW RAMP 2 BLOOM BLOOM 2 CIRCLE 1 16 REVERSE CIRCLE 1 8 REVER...

Page 141: ...t Always End Always jumps at the end of the current segment Note On End Jumps at the end of the segment if the note is still on Note On Immed Jumps immediately if the note is still on Note Off End Jumps at the end of the segment if the note is off Note Off Immed Jumps immediately if the note is off LFO 1 or 2 End Jumps at the end of the segment if the value of the selected LFO is equal or greater ...

Page 142: ...ed to a modulation destination in the Realtime Control screen The amount is like a water faucet It controls how much of the function generator is output If a negative value is selected the function generator output will be inverted Function generator 1 or 2 is selected on the top line of the display F1 or F2 FUNC GEN AMT F1 064 1 2 3 4 5 Time 4 sec Jump Time 4 sec In the example above segment 4 ha...

Page 143: ... RELEASE SECONDARY RELEASE CROSSFADE LFO 1 AMOUNT LFO 1 RATE LFO 2 AMOUNT LFO 2 RATE AUXILIARY ENVELOPE AMOUNT AUXILIARY ENVELOPE ATTACK AUXILIARY ENVELOPE DECAY AUXILIARY ENVELOPE RELEASE FUNCTION GEN 1 AMOUNT FUNCTION GEN 2 AMOUNT PORTAMENTO RATE PRIMARY PORTAMENTO RATE SECONDARY PORTAMENTO RATE FILTER MORPH PRIMARY FILTER MORPH SECONDARY FILTER MORPH PAN PRIMARY PAN SECONDARY PAN SAMPLE START P...

Page 144: ...RATOR 1 FUNCTION GENERATOR 2 FREE RUN FUNCTION GENERATOR DESTINATIONS OFF PITCH PRIMARY PITCH SECONDARY PITCH VOLUME PRIMARY VOLUME SECONDARY VOLUME ATTACK PRIMARY ATTACK SECONDARY ATTACK DECAY PRIMARY DECAY SECONDARY DECAY RELEASE PRIMARY RELEASE SECONDARY RELEASE CROSSFADE LFO 1 AMOUNT LFO 1 RATE LFO 2 AMOUNT LFO 2 RATE AUXILIARY ENVELOPE AMOUNT AUXILIARY ENVELOPE ATTACK AUXILIARY ENVELOPE DECAY...

Page 145: ...r menu is used Pitch bend range is only used when the pitch wheel is used to control pitch PITCH BEND RANGE 12 semitones Pressure Amount This function allows you to specify an overall amount parameter for mono or poly keyboard pressure data pre patch cord The pressure amount is variable from 128 to 127 PRESSURE AMOUNT 127 MIDI Controller Amount This function allows you to specify an overall amount...

Page 146: ...tered Off In addition the velocity curve can be set to Global which selects the global velocity curve programmed in the Master menu VELOCITY CURVE Global Curve 1 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocity 120 Resulting Velocity Curve 2 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocity 120 Resulting Velocity Curve 3 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocity 120 Resu...

Page 147: ...tion selects which tuning will be used in the current preset The choices of keyboard tunings are Equal tuning 12 tone equal temperament Standard Western tuning Just C tuning just intonation Based on small interval ratios Sweet and pure non beating intervals Vallotti tuning Vallotti Young non equal temperament Similar to 12 tone equal temperament For a given scale each key has a differ ent characte...

Page 148: ...t until the preset is Saved To save a preset move the cursor to the bottom line and select the location for the new preset with the data entry control The Enter LED will then flash Pressing the Enter button will confirm the operation Any RAM preset 000 127 bank 0 or RAM card location 000 127 bank 3 may be selected using the data entry control Writing to a RAM preset erases the existing preset in t...

Page 149: ...128 UltraProteus Operation Manual ...

Page 150: ...129 Chapter 9 Copy Menu COPY MENU UltraProteus COPY MENU ...

Page 151: ...130 UltraProteus Operation Manual COPY MENU ...

Page 152: ...e one To select a new screen Press the Home Enter key or press the cursor keys repeatedly until the cursor is underneath the screen title heading Rotate the data entry control to select another screen To modify a parameter Press the cursor key repeatedly or hold the right cursor key while turning the data entry control until the cursor is underneath the parameter value Rotate the data entry contro...

Page 153: ...the primary or secondary layer or both from another preset into the current preset Copy Filter copies the following parameters only Filter Type Filter Level Morph Offset Filter Frequency Track initial setting Filter Transform 2 initial setting and Filter Reverse There are five options available Pri to Pri Pri to Sec Sec to Sec Sec to Pri Pri Sec Both COPY FILTER P P 000 PresetName Copy LFO This fu...

Page 154: ...u to copy just the auxiliary envelope parameters from another preset into the current preset There is only a single option COPY AUX ENV 000 Preset Name Copy Note On Control This function allows you to copy the Note On modulation routings from an other preset into the current preset There is only a single option COPY NOTE ON CTL 000 Preset Name Copy Realtime Control This function allows you to copy...

Page 155: ...reset location Zones may be placed into any other zone number in the current hyperpreset COPY ZONE 01 03 000 HyperName Copy Free Run Function Generator This function allows you to copy all the Free Run Function Generator param eters from any hyperpreset into the current hyperpreset location COPY FREE RUN FG 000 HyperName Copy Midimap This function allows you to copy an entire midimap into the curr...

Page 156: ...ou to copy effects from any midimap into the current midimap location There are three options available A to A B to B A B Both Because of the differences between the A and B effects it is not possible to copy between A and B Copying a single A or B effect includes all effects parameters and the A or B amount but not the A B amount When both effects are copied the A B amount is included COPY EFFECT...

Page 157: ... copy all RAM presets Hyperpresets and Midimaps to the card or vice versa WARNING Be careful when using the Copy Bank function It is very easy to accidentally overwrite an entire bank of data There are ten options available Presets RAM to Card Card to RAM ROM to RAM ROM to Card Hypers RAM to Card Card to RAM MIDImap RAM to Card Card to RAM All Card to RAM RAM to Card COPY BANK Presets RAM Card ...

Page 158: ...137 Chapter 10 Step by Step STEP BY STEP UltraProteus STEP BY STEP ...

Page 159: ...138 UltraProteus Operation Manual STEP BY STEP ...

Page 160: ...uilder The more knowledge you have about music acoustics and electronics the more success you will have in constructing the sounds of your dreams Learning about sound synthesis will be much easier if you learn to really LISTEN to the sounds all around you then try to recreate them Listen to how the pitch rises on that bird s chirp or how the volume changes on that organ Soon you ll be hearing soun...

Page 161: ...ruments A patch diagram shown below is useful to visualize the connection you have just made Press Enter when you find an instrument you like Turn the data knob one click to the right to the secondary instrument select screen The secondary instruments are identical to the primary instruments Change the secondary instrument and listen to the various combinations of the two What you are doing is act...

Page 162: ...nd the other hard left 7 is a good way to keep the identities of the instruments separate Try it and notice how the guitar and piano instruments are distinct and separate When you are finished return the pan settings to 0 and press Enter PAN pri 0 sec 0 Transpose Move the data knob ahead four clicks until you find the transpose screen This function transposes the key of the primary or secondary in...

Page 163: ... make it easier to hear the guitar PITCH TUNE crse pri 12 sec 00 Fine Tuning The Fine Tune control is related to the coarse tuning but has a range of one semitone When both primary and secondary instruments are the same detuning one of the instruments slightly will create a fat sound useful for strings or ensemble effects PITCH TUNE fine pri 00 sec 00 In preparation for the next experiment let s c...

Page 164: ...nate Envelope parameter is turned Off By turning the Alternate Volume Envelope On we can re shape the instrument s natural volume enve lope any way we want By re shaping the volume envelope you can dramatically change the way the sound is perceived For example by adjusting the envelope parameters you can make bowed pianos or backwards gongs The diagrams at right show the volume envelopes of a few ...

Page 165: ...ut the Sustain is a Level The envelope will stay at the Sustain level for as long as the key is held When the key is Released the envelope falls back down to zero at the Release rate FOR MORE INFORMATION ABOUT ENVELOPES SEE THE PROGRAMMING BASICS CHAPTER IN THIS MANUAL THE DELAY PARAMETER IS ONLY AVAILABLE IN THE AUXILIARY ENVELOPE The secondary alternate volume envelope parameters perform the sam...

Page 166: ...layed Chorus Set primary and secondary to the same instrument Use Double Delay Fine Tuning and Sound Delay on the secondary layer Sound Splicing Splice the attack of one sound with the body of another using Sound Delay and Sound Start the next subject of our investiga tions Read on Sound Start Sound Start removes the beginning attack of the sound as the value is in creased It s probably time to cl...

Page 167: ...ope so that only the honking attack is heard a short delay and decay with the sustain set to zero The Bass Clarinet instrument serves as the body of the sound The Sound Delay parameter is used to delay the onset of the Bass Clarinet until the Sax attack has finished The Bass Clarinet attack is removed using the Sound Start parameter The Attack parameter of the Secondary Alternate Envelope is set t...

Page 168: ...t Name then save the preset again to the same location LFO Modulation Let s investigate how modulation routings can affect the sound For these experiments you use the default preset If you just wrote over it there is another one stored in permanent ROM 127 bank 1 Select any primary instrument but leave the secondary instrument turned Off The LFOs Low Frequency Oscillators generate repeating waves ...

Page 169: ...and Shape Controlling pitch is an easy way to hear the different LFO waveshapes Delay DLY sets a time before the LFO starts Variation VAR makes the rate of each LFO a little different for ensemble effects Now set the LFO Rate to about 20 and set the shape to Saw Listen how the sawtooth wave smoothly ramps up then comes abruptly down Change the amount to 128 and notice that it now ramps down and co...

Page 170: ...es with the patch number There are TEN count em realtime modulation patches available per preset This is what sound synthesis is all about By simultaneously controlling many parameters the sound is shaped in complex ways into the desired form Now that you understand how to connect modulation sources to destinations try using the Auxiliary Envelope Generator to control pitch You ve already used the...

Page 171: ...lling the amount of LFO applied to the volume The harder you play the more LFO modulation is applied The modulation wheel Realtime Control screen can also be routed to control the LFO 1 amount or the LFO rate or the Pan posi tion or all of the above There can be ten Note On modulations and ten Realtime modulations in each preset You can probably see why patch diagrams are important even if they on...

Page 172: ...e thought of as the main filter control See the section on UltraProteus Filters in the Reference Section of this manual for specific information on each filter The Frequency Tracking control changes the frequency of the filter on many of the filter types This would correspond to Fc or the cutoff frequency of a tradi tional lowpass filter You can connect the keyboard to this control in the note on ...

Page 173: ... wheel is usually transmitted on MIDI controller 01 UltraProteus Controller A is set to controller 01 by default So if you have not changed this parameter in the Master menu Controller A is the mod wheel We want to route Controller A the mod wheel to Morph Go to the Realtime Modulation Control screen and set it as shown below REALTIME CTRL 1 CtlA Morph 127 Note A good way to verify that the mod wh...

Page 174: ...T TRANSFORM 2 pri 127 sec 000 Now that you ve explored the three main filter parameters let s go back and connect the keyboard to Filter Frequency Tracking The keyboard is a Note On control A setting of 064 is the proper setting for accurate key tracking where the timbre will remain more or less constant up and down the keyboard NOTE ON CTRL 0 Key FrqTrk 064 As long as we re programming Note On Co...

Page 175: ...not exist in the original instrument The Filter Frequency Tracking control can be used to tune in the filter to match the instrument Frequency Response of Instrument Instrument s Response Shaped by Filter Filter The Filter can only act on frequencies that are present in the Instrument Use the Filter Frequency Tracking control to fine tune the filter to the instrument No sound would be output from ...

Page 176: ...Amplitude Resulting Frequency Spectrum Frequency Filter Response Instrument Through Filter 40 80 160 360 720 1440 2880 Amplitude 40 80 160 360 720 1440 2880 Frequency Original Instrument Spectrum Amplitude The Filter imposes its response on the harmonic spectrum of the Instrument ...

Page 177: ... 2 controls a lowpass filter and increases the volume slightly more T2 equals brighter and louder The Morph Offset is turned down to 000 so that it can be turned back up using Controller A which defaults to the Mod Wheel of your keyboard Control A has been routed to control the filter Morph in the Realtime Modulation Control Now to the Note On modulation The Key Number has been routed to Key Track...

Page 178: ...ime variant filter sweeps are good for traditional synthesizer effects such as resonant sweeps flanges phasing stereo panning vowels etc Time invariant filters are useful for distortion simulating instrument reso nances plucked strings cymbals strikes etc Correlate the DCA envelope to emphasize or minimize parallel filter attack and release characteristics Try using vibrato LFO to pitch with vocal...

Page 179: ... that it is underneath the channel number C01 VOL127 PAN P 000 Program Name Turn the data entry control and you will see that every MIDI channel has a preset assigned to it Just select a preset or hyperpreset for each of the MIDI channels It s simple If you want to store the sixteen channel MIDI setup press the Midimap button and turn the data entry control to the last screen Save Midimap to Then ...

Page 180: ...rrors could result Initial Setup 1 Program a Midimap exactly the way you want it with Channels to Preset Hyper MIDI Enables and Effect Settings Be sure to name your Midimap so you can recognize it later 2 SAVE the Midimap in one of the sixteen internal locations or one of the sixteen RAM card locations 3 Make sure the Device ID MIDI Mode in the Master menu is set to 00 Otherwise UltraProteus will ...

Page 181: ...y known as channel rip off You will most commonly encounter this rip off when using UltraProteus in multi timbral mode or when using massive hyperpresets Long Alternate Envelope attack and release rates can also cause this problem Since UltraProteus dynamically allocates channels as needed you must either play fewer notes shorten the release rates use simpler sounds or turn off Double Detune to el...

Page 182: ...Instrument Listing 164 Drawbar Diagrams 171 Instrument Locations 172 Percussion Instrument Locations 173 Z Plane Filter Descriptions 178 Loop Offset Sample Locations 235 Function Generator Curves 239 Func Gen LFO Envelope Specs 247 Technical Specifications 248 MIDI Specifications 249 ...

Page 183: ...tion 19 ImperialHrns 35 Brass Stabz 51 Soft Horns 80 Solo Trumpet 81 Trumpets 82 Solo Trmbone 83 Trombones 84 TrumpetBone 85 FanfareHorns 86 Fr Horn Section KEYBOARDS SYNTH 9 Wurli Grand 10 Sunset Synth 11 Poly Synth 12 Etherium 25 Electric Pno 27 SpectreSweep 41 Digi Clav 42 Flute Trails 43 Sweepstakes 44 ChambrMaidns 50 Miz Marthas 57 Rock Organ 58 SikuSymphony 59 Trek String 61 Techno Clav 73 S...

Page 184: ...9 Shaku Chant 120 NuWorldPerc 121 Waterphone 122 PhlooNey 123 Shofars 124 Bata Drum 125 Bagpipe 126 Didgeridoo 127 defPreset BASS SYNTH BASS 7 Funk Pops 8 Plexi Bass 23 Jazz String 24 Street Moog 39 No Frets 40 Saw Bass 55 Bottom Bass 56 Home Bass KEYBOARDS SYNTH 9 Dirty Organ 10 Phantazia II 11 Saturn Pad 25 Electratyne 26 Power Sweep 27 Raw Solo 42 Sound Scape 43 Analog Pad 41 FM Piano 57 Synerg...

Page 185: ... 78 Dulc A 79 Dulc B 80 Dulc C 81 Koto 82 Koto A 83 Koto B 84 Koto C 85 Banjo 86 Banjo A 87 Banjo B 88 Banjo C 89 Hi Tar 90 Sitar 91 Tambura 92 Tamb Sitar 93 Renaissance 94 Psaltry 95 Waterphone 1 96 Waterphone 2 97 Bari Sax 98 Tenor Sax 99 Alto Sax 34 E Guit C 35 E Guit D 36 E Guit E 37 Solo Cello 38 Solo Viola 39 Solo Violin 40 Pizz Basses 41 Pizz Celli 42 Pizz Violas 43 Pizz Violns 44 Pizz Comb...

Page 186: ...nglishHorn 168 Jews Harp A 169 Jews Harp B 170 Jews Harp C 171 Jews Harp D 172 Down Under 173 Airy Voices 174 Dark Voices 175 Voice A 176 Voice B 177 Voice C 178 Voice D 179 Voice E 180 Voice F 181 Voice G 182 Voice H 134 Oboe 135 Long Oboe 136 Alt Oboe 137 WoodWinds 138 Accordion 139 Harmonica 140 Vb Harmonica 141 Folk America 142 Bagpipe Drone 143 Chanter A 144 Chanter B 145 Dron Chant A 146 Dro...

Page 187: ... World Perc 1 259 World Perc 2 260 World Perc LR 261 M EastCombi 262 East Indian 263 Agogo 264 P1 Wood Block 265 P3 Wood Block 266 Conga 267 Hi Tumba Tone 268 HTmbaOpSlap 269 Open Hand Tone 270 Timbale 271 Timbale Rim 272 Fingers 273 Cabasa 274 Guiro Down 275 Guiro Up 276 Maraca A 277 Maraca B 278 Maraca C 279 Maraca D 280 Bata Ipu Tone 281 Bata Ipu Slap 282 Bata Enu Tone 283 Bata Hi Tone 284 Bata...

Page 188: ... 307 Rosewood Finger 308 Tanz Shaker 309 Hula Stick 310 Buzz Likembe 311 Likembe 312 Likembe Buzz 313 Bendir 314 Req Open 315 Req Slap 316 Plexi Tone 317 Plexi Slap A 318 Plexi Slap B 319 Plexi Slap C 320 Bonang 321 Kenong 322 Saron 323 Rubbed Bonang 324 Rubbed Kenong 325 Rubbed Saron 326 Bonang Kenong 327 Kenong Bonang 328 China Gong 329 Rubbed Gong 330 Nepal Cymbal 331 Tibetan Bowl 332 Rubbed Bo...

Page 189: ... Evens 366 FourOctaves Starting from the first octave fundamental the harmonic waveforms contain the harmonics odd even or all present in each octave In each succes sive octave the number of harmonics doubles By combining pri sec or link the harmonic wave forms in various amounts volume and transpos ing them course fine tuning a wide range of timbres may be produced As an example this chart shows ...

Page 190: ...esizers and organs Waveforms highlighted in Bold lettering are multicycle samples The others are single cycle waveforms B3 waves are various harmonic drawbar settings designed to be used alone or layered 376 Evens Only 377 Odds Gone 378 Fund Gone 1 379 Fund Gone 2 380 Moog Saw 1 381 Moog Saw 2 382 Moog Saw 3 383 Moog Saw 4 384 Moog Sqr 1 385 Moog Sqr 2 386 Moog Sqr 3 387 Moog Sqr 4 388 Moog Sqr 5 ...

Page 191: ...e 2 426 Metlphone 3 427 Metlphone 4 428 Duck Cyc 1 463 Fuzzy Clav 464 Electrhode 465 Whine 466 Glass Chrs1 467 Glass Chrs2 468 Bell Chorus 469 FM ToneChrs 470 Oooohgan 429 Duck Cyc 2 430 Duck Cyc 3 431 Wind Cyc 1 432 Wind Cyc 2 433 Wind Cyc 3 434 Wind Cyc 4 435 Organ Cyc 1 436 Organ Cyc 2 437 Vio Essence 438 Buzzoon 439 Brassy Wave 440 Reedy Buzz 441 Growl Wave 442 HarpsiWave 443 Fuzzy Gruzz 444 P...

Page 192: ... 2 1 5 1 3 1 1 3 1 3 5 2 2 3 2 B3 Wave 6 8 7 6 5 4 3 2 1 8 7 6 5 4 3 2 1 1 16 8 4 5 1 3 1 3 5 1 1 3 2 2 3 Scale Interval 8 4 2 1 1 1 3 2 2 3 1 3 5 SUB HARMONIC SUB 3rd HARMONIC FUNDAMENTAL 2nd HARMONIC 3rd HARMONIC 4th HARMONIC 5th HARMONIC 6th HARMONIC 8th HARMONIC Off Full Volume Sub Octave 5th Unison Octave 12th 15th 17th 19th 22nd 5 1 3 16 DRAWBAR DIAGRAMS Each drawbar controls the volume of t...

Page 193: ...I Key 36 48 60 72 84 96 Arco Viola Arco Basses Arco Violin Instrument 172 Down Under Bull Roarer MIDI Key Clapper Stick 36 48 60 72 84 96 Spirit Catcher Didgeridoo A Didgeridoo B Didgeridoo C Instrument 053 Quartet 2 Arco Cello MIDI Key 36 48 60 72 84 96 Arco Viola Arco Cello Arco Viola Arco Violin ...

Page 194: ...Timbale Rimshot Conga Closed Slap Rosewood Claves Guiro Down Guiro Up MIDI Key 36 48 60 72 84 96 Rock Percussion 1 Instrument 183 Guiro Down Guiro Up Conga Open Slap High Tumba Tone Timbale Strike Open Hand Tone Snare 3 Kick 3 Snare 2 Kick 2 12 Tom Tom 12 Tom Tom 12 Tom Tom 16 Floor Tom 16 Floor Tom Reverb Snare 1 Reverb Kick 1 16 Floor Tom Reverb Click Closed HiHat 1 Big HiHat Closed HiHat 2 Open...

Page 195: ...h Ride Cymbal Spingy Splash Bongo Rim Quinto Slap Low Tumba Tone Samba Whistle Samba Whistle Quica Hi Tone Triangle Long MIDI Key 808 Claps Tambourine Cowbell Vibra Loop Conga Tone Quinto Tone Maraca Quica Down Triangle Short 36 48 60 72 84 96 Instrument 193 G MIDI 1 Kick Drum Snare Drum 16 Floor Tom 16 Floor Tom Tom Tom Tom Tom Tom Tom Tom Tom Crash Cymbal Ride Cymbal Timbale Rimshot Agogo Bell C...

Page 196: ... Timbale Rimshot Timbale Rimshot Timbale Strike Timbale Rimshot Timbale Rimshot Timbale Strike Timbale Rimshot Open Hand Tone MIDI Key 36 48 60 72 84 96 Instrument 248 The Tabla Baya Tone MIDI Key 36 48 60 72 84 96 Baya Slap Baya Hit Tabla Mute A Tabla Tone Tabla Mute B Tabla Mute C Tabla Open Baya Slap Baya Tone Baya Hit Tabla Mute A Tabla Mute B Tabla Mute C Tabla Open Tabla Tone Latin Percussio...

Page 197: ...ood Finger Kenong Suwuk Gong Log Drum Log Drum Rosewood Bass Rosewood Harmonic Bonang Saron Log Drum Crotale Surdo Open Surdo Open Surdo Open Surdo Open Surdo Open Tabla Open Tabla Mute A Instrument 258 World Percussion 1 Clapper Stick MIDI Key Clapper Stick Rosewodd Tick Rosewood Tick 36 48 60 72 84 96 Surdo Open Surdo Open Rosewood Tick Nepal Cymbal Nepal Cymbal Nepal Cymbal Nepal Cymbal Nepal C...

Page 198: ...8 60 72 84 96 Instrument 250 Instrument 262 East Indian Bayan Tone Tambura MIDI Key Crickets 36 48 60 72 84 96 Accordion Sitar Bayan Hit Bayan Slap Tabla Tone Tabla Mute A Tabla Mute B Tabla Mute C Tabla Open Clapper Stick Middle Eastern Combi Deff Slap Bendir Req Slap Req Open Deff Mute MIDI Key 36 48 60 72 84 96 Instrument 261 ...

Page 199: ... the notches in the first frame of the Morph axis up two octaves The second frame is completely flat Tracks filter to keyboard frequencies with Note on key assignment Frequency Track ing controls brightness Transform 2 Not used F002 Low Pass Flange Bk 4 A series of deep notches spaced at octave intervals morphing to less severe more closely clustered high frequency notches An additional lowpass fi...

Page 200: ...ppen in the lower 1 3 to 1 5 of the morph parameter range Freq Tracking Sets the initial tuning of the notches moving all of the notches up from 40Hz to 325Hz as the base frequency Transform 2 Not used F006 Flange 4 4 A highly resonant flanger filter type Sweeping the Morph axis produces dramatic effects The Filter Frequency Track parameter can be used to tune the flanger higher values produce mor...

Page 201: ...ries of notches tuned in octaves are swept upward and finally converge at 19 5kHz as this filter is pushed up along the Morph axis A small bump at about 15kHz is introduced to maintain brightness when Morph is at completely offset Morph Increasing this value sweeps the filter notches upward and together Freq Tracking Increasing this raises the lowpass filter cutoff point Transform 2 Not used F012 ...

Page 202: ... but Transform 2 adds more depth and introduces a bell like quality to the flange F017 Flng Flng6 Morph Sweeps from flange 1 to 2 Freq Tracking Provides key tracking to fix partials Transform 2 Provides more brightness and flange F018 Flng FlngT Morph Sweeps between flat and flange Freq Tracking Provides key tracking to fix partials Transform 2 Provides more brightness and flange Comments A gentle...

Page 203: ... This paravowel has a low pass filter to provide additional roll off when desired Otherwise it behave as the other paravowels Morph Controls movement between vowels Try setting Transform 2 to 255 for additional brightness Freq Tracking Shifts all of the resonances up in frequency Transform 2 Controls volume depth of effect F022 AEParaVowel Morph Controls movement between vowels Try setting Transfo...

Page 204: ...en vowels Freq Tracking Shifts all of the resonances up in frequency Transform 2 Controls the amplitude of all of the resonances F029 Vocal Cube Morph Sweeps frequencies Freq Tracking Assign to velocity for brightness control Transform 2 Tunes filter F030 C1 6 Harms4 Morph Sweeps between a notch at 190Hz to a series of closely spaced peaks from 120Hz to 640Hz Freq Tracking Tracks filter with keybo...

Page 205: ...ot used F036 Ii Yi 4 Morph Controls movement between vowels Freq Tracking Tracks filter with keyboard range and controls bright ness with velocity assigned Transform 2 Not used F037 Uhrrrah 4 Morph Roars like a lion Freq Tracking Tracks filter with keyboard range and controls bright ness with velocity assigned Transform 2 Not used F038 YeahYeah 4 See What Yeah preset Morph Moves between ee and ya ...

Page 206: ...llows any vowel to be approximated with only two parameters Morph Sweeps the first formant of the vowel from 150Hz up to 850Hz Freq Tracking Sweeps the second formant from 500Hz up to 2500Hz Transform 2 Changes the vowel stress Low stress means that all of the vowel frequencies collapse to a relaxed schwa sound Maximum Transform produces the maximum excursion stress for all of the vowel frequencie...

Page 207: ...equency are swept to create a steeper rolloff at the cutoff point re creating the classic 4 pole lowpass filter effect This filter features medium resonance which can be accentuated via the Transform 2 offset Morph Controls filter cutoff Freq Tracking Controls filter cutoff Transform 2 Controls resonance F049 HiQ 4PoleLP Again as with filters 050 052 two poles tuned to the same frequency are swept...

Page 208: ...s All Pole filter is modeled on traditional lowpass filter It has a soft resonance boost F054 LowPassPlus Morph Sweeps from octave peaks starting at 220Hz to inharmonic higher frequency peaks Freq Tracking Keyboard tracking Transform 2 Brightens the response F055 Low Past 4 Poles with fairly high Q settings are grouped into the lower to upper midrange Sweeping along the Morph or Frequency Tracking...

Page 209: ... Control filter cutoff and resonance Transform 2 Not used F059 HghsSwpt2 4 A more open sounding version of filter 062 Raises both the filter cutoff point and filter Q Morph Freq Tracking Raises both the filter cutoff point and filter Q Transform 2 Not used F060 HighAccent 4 The center frequencies remain constant throughout all permutations of this filter along the Morph and Frequency Tracking axes...

Page 210: ...Transform 2 Increases the effect of Morph and provides velocity sensing F064 More Peaks Morph Try setting Transform 2 to 255 Moves from a low cut off flat frame to a series of peaks at 220 440 880 330 1000 and 2000Hz Freq Tracking Tracks keyboard Transform 2 Intensifies effect and controls volume F065 Rev Peaks Morph Try setting Transform 2 to 255 Moves from flat with a low frequency cut off to a ...

Page 211: ... 2 mostly respects natural changes in brightness how ever F069 VarSlope 4 A low pass filter in which the rolloff above the cutoff point 400Hz be comes steeper as the value for Morph Offset is increased Morph Changes the slope of the rolloff Freq Tracking Moves the filter toward flat response Transform 2 Not used Comments A good choice when more subtle filtering is desired EQUALIZATION FILTERS Most...

Page 212: ...Q Comments This is an EQ filter designed for snares based on a low pass EQ filter There is a strong boost in the 320Hz to 640Hz range and some boost on the low end to give it some punch The trans forms tailor to different types of snares F075 HiHatLPEQ Morph Controls brightness Freq Tracking Tends to make the EQ more complex Transform 2 Tends to modify the low end Comments This is an EQ filter des...

Page 213: ...ost familiar analog sounds F080 Wah4Vib 4 Morph Sweeps from slight rise above 1200Hz to a peak at 590Hz with roll off after Sounds more mellow and rounded as offset is increased Freq Tracking Tracks keyboard Transform 2 Not used F081 WaWa Multiple resonant peaks flatten then invert to become notches as the value for Morph Offset or Frequency Tracking is increased Increasing the value for Transform...

Page 214: ... a steep rolloff of low frequencies or a sharp boost of high frequencies with one axis arriving at flat response Note that with Transform 2 set to 255 the polarity of the sweep along the Morph axis is reversed This filter can be a good choice when you need a sharp accentuation of high frequency material Morph Sweeps the highpass filter with direction dependent on setting of Transform 2 Freq Tracki...

Page 215: ...test sounds obtained at maximum settings for Morph Offset Frequency Tracking and Transform 2 In addition Transform 2 increases the resonance Morph and Freq Tracking Sweeps the peaks Transform 2 Tunes the peaks and increases resonance F091 Chiffin 4 Morph Sweeps between low frequency notches Freq Tracking Allows the notches to track the keyboard Transform 2 Not used Comments Use with noise to creat...

Page 216: ... like a lowpass filter with a low Q setting Cutoff frequency is controlled along the Morph axis Increasing the value for Frequency Tracking increases overall brightness Although this filter is designed to work well for adding expressiveness to piano type sounds it can also be useful in many instances when a filter with a gentle slope is required Morph Controls cutoff frequency Freq Tracking Contro...

Page 217: ... a good choice for adding a subtle sparkle to some sounds Morph Controls cutoff frequency and depth of notches Freq Tracking Tunes the filter Transform 2 Not used F102 StrSweep 4 Set Frequency Tracking between the ranges of 200 and 255 and gently modulate the Morph Offset parameter in its upper ranges for an effect that will accentuate bowing sounds in string programs Morph Positive modulation inc...

Page 218: ...Morph Plays the squeak Freq Tracking Provides key tracking to balance keyboard brightness Transform 2 Makes brighter adds more volume and squeak Comments Higher Transform 2 allows morphing to string squeak Best used with Aux Env or FG to control this Routing Velocity to Transform 2 will reduce squeak on low velocities F108 GuitXpress Increasing the Morph Offset value places a notch in the frequenc...

Page 219: ... make interesting dynamic tambourine sounds F111 HOTwell 4 Morph Sweeps frequency range Freq Tracking Determines degree of frequencies accentuated Transform 2 Not used Comments Works well with bell like sounds F112 Bell Waha Morph Sweeps between flat and bell Freq Tracking Provides key tracking to fix partials Transform 2 More dissonance and effect Comments Morphing can pull bell like sounds out o...

Page 220: ...d dissonant sound F117 Chrs Flng1 Morph Sweeps to a flange effect Freq Tracking Provides key tracking to enhance flange effect Transform 2 Makes brighter increases volume Comments Degree of flanging effect depends on velocity F118 Chrs Flng2 Morph Sweeps to a flange effect Freq Tracking Provides key tracking to enhance flange effect Transform 2 Makes brighter adds volume Comments Velocity controls...

Page 221: ...ansform 2 Adds depth volume F124 500up 4 Poles and zeros alternate spaced at 500Hz intervals Increasing Morph Offset boosts the peaks slightly and greatly deepens the notches producing an effect similar to band pass filtering This effect is further accentuated by increasing the Frequency Tracking value as well as tuning the entire filter higher Morph Increases depth of notches Freq Tracking Tunes ...

Page 222: ...ape on the sound Low velocity for mellow high for bright F130 Shp Shp1 Starts with peaks every half octave from 66Hz and morphs to peaks every octave beginning at 66Hz Effect is ee to u with Frequency Tracking fully offset Transform 2 reveals a completely flat response with all axes offset F131 Lpeq Vel Morph Moves between different softs brights Freq Tracking Provides key tracking to maintain spe...

Page 223: ...acking can be used to tune the filter Morph Controls Q controls lowpass cutoff Freq Tracking Tunes the filter Transform 2 Not used F135 SweepHiQ1 4 Morph Sweeps from peaks at 150Hz 430Hz 870Hz 1500Hz 3000Hz and 7000Hz to peaks an octave higher Freq Tracking Introduces high Q peaks at 1 2kHz and 3 4kHz to narrowly spaced peaks at 1500Hz to 15kHz Transform 2 Not used F136 V FcQuad 4 Designed for vel...

Page 224: ...tness and tracks keyboard Transform 2 Not used F141 Comb Swap 4 Morph Controls a series of notches moving from 160Hz to 10kHz Freq Tracking Controls brightness and tracks keyboard Transform 2 Not used F142 Comb HP 4 Morph Sweeps between a series of low frequency notches to a high pass response Freq Tracking Keyboard Tracking and brightness control Transform 2 Not used Comments Control the brightne...

Page 225: ... and Transform 2 parameters Morph Use to tune the filter Freq Tracking Low values make upward filter sweeps appear to bend pitch up High values make pitch bend appear to go down Transform 2 Higher values make the filter sound more open F147 Bendup This is similar to filter number 160 except that the bend is always in an upward direction if the Morph axis is swept in a positive direction Frequency ...

Page 226: ...string instrument sounds such as guitar Morph Controls polarity of poles Freq Tracking Tunes the filter Transform 2 Not used F151 Buzzy Pad 4 This filter produces a bump at 65Hz and a rolloff above 250Hz at low Morph values Increasing the Morph value pushes the bump up to about 2kHz and the cutoff of the lowpass filter up to 20kHz Increasing the value of Frequency Tracking sends the bump higher ye...

Page 227: ...to 19 5kHz and decreases the bandwidth of the 80Hz bump Morph Controls bandwidth Freq Tracking Tunes the filter Transform 2 Not used F155 HighsTwist4 The frequencies of the poles and zeros in this filter remain constant as Morph or Freq Tracking are modulated but the Q values are modulated in a variety of ways The filter is closest to flat with some emphasis in the high frequency range and a small...

Page 228: ...ed Morph Controls the depth of the notches height of the bumps Freq Tracking Tunes the notches bumps Transform 2 Not used F159 OddCuts 4 This filter produces a series of notches in the frequency spectrum based on the odd harmonic series which turn into small bumps when morphed Morph Controls the depth of the notches height of the bumps Freq Tracking Tunes the notches bumps Transform 2 Not used F16...

Page 229: ...andwidth of the peaks slightly and Frequency Tracking can be used to subtly raise the frequency of the peaks Increasing the value for Transform 2 increases the gain of the peaks without affecting bandwidth Morph Controls gain and bandwidth of peaks Freq Tracking Tunes the filter Transform 2 Controls gain of peaks F165 NoizCube This filter introduces some subtle peaks into the high frequency range ...

Page 230: ...s up in frequency The Frequency Tracking parameter can be used to tune the peaks Morph Freq Tracking Tune the resonant peaks Transform 2 Not used F171 StrongShimr This filter produces several deep notches in the frequency spectrum which can be tuned or swept according to the settings and modulators for the Morph Offset Frequency Tracking and Transform 2 parameters Morph Raising this value lowers t...

Page 231: ... brightness Transform 2 Brighter more volume more harmonics Comments Cube construction Use the Aux Envelope to provide attack transient which then fades off to rear frames Softer version than HarmoEP Volume changes for sensitivity are maintained in the cube F177 Start EndB Morph Flat response to gentle lowpass Freq Tracking Key tracking to balance keyboard brightness Transform 2 Controls volume br...

Page 232: ...ly with the value for Transform 2 set fairly high Morph Use this to animate the comb filtering effect Freq Tracking Generally this can be used to tune the filter Transform 2 Moves the filter toward more open sounds F183 Odd Ev Hrm A series of peaks and notches based on the odd and even harmonic series Sweeping the Morph axis produces some lovely comb filtering effects which can be either subtle or...

Page 233: ...uency Freq Tracking Positive values generally move the poles upward in frequency Transform 2 Positive values generally move the poles upward in frequency F187 AHmBnd 4 The Morph Offset can be swept to sweep a cluster of resonant peaks producing a pitch bend effect The effect is generally most pronounced with Frequency Tracking set to a fairly low value Morph Sweeping produces pitch bend effect Fre...

Page 234: ...ter frequency and amount of boost cut for the various filter bands F192 Expander Frequency Tracking and Transform 2 provide a range of fairly broad band boosts and cuts at various frequencies with higher values generally provid ing thinner brighter sounds These can be used to add a measure of expressiveness to the source material route Key to control Frequency Tracking for example and Vel to contr...

Page 235: ...late Morph Crosses filter poles to create hot distortion or sweet spots Freq Tracking Adds extra bite to Morph Transform 2 Not used F196 ApDistB6 4 Reducing the Filter Level parameter in the preset will not only reduce the volume level it will also reduce the amount of distortion effect Therefore routing velocity mod wheel pressure pedal etc to Filter Level controls the distortion s depth as well ...

Page 236: ...nter to C1 Note that Freq Track has no effect with Transform 2 set to 255 and that distortion can be produced F200 4 Poles A A useful filter for bass sounds Set Morph and Freq Track to 255 and Transform 2 to 000 for flat response Morph Controls Fc range is from approx 20Hz 320Hz Freq Tracking Controls Fc range is from approx 320Hz 20kHz Transform 2 Higher values increase Q F201 4 Poles B Morph Con...

Page 237: ... is from approx 20Hz 20kHz Freq Tracking Higher values increase Q Transform 2 Higher values increase multi band Q F206 Tracker 2 Morph Tunes the peak Freq Tracking Tunes the peak Transform 2 Higher values increase the gain of the peak A single resonant peak can be added and moved around via Morphing and Freq Tracking Best tracking is achieved with Key to Freq Track 117 F207 Tracker 3 Morph Tunes t...

Page 238: ... These filters are set up with various interesting combinations of peaks and notches The Frequency Tracking parameter controls various functions such as bandwidth amount and Fc F211 1BndPrmtrcA Morph Controls Fc range is from approx 20Hz 20kHz Freq Tracking Higher values increase bandwidth Transform 2 Values below 127 produce notches above produce peaks Set Transform 2 to 127 for closest to flat r...

Page 239: ...d tracking route Key to Morph 127 and set Keyboard Center to C1 Morph Controls Fc range is from approx 80Hz 18kHz Freq Tracking Values below 127 produce notches above produce peaks Transform 2 Higher values increase bandwidth F217 MultiMetricC A series of adjustable peaks and notches tuned to odd harmonics For best keyboard tracking route Key to Morph 127 and set Keyboard Center to C1 Set Transfor...

Page 240: ...m 2 Lowpass effect higher values open the filter F220 HrmncPeaks2 Filter bands can be tuned using Freq Track Morph simply controls which bands produce peaks Morph At 000 peaks are even harmonics At 255 peaks are odd harmonics Freq Tracking Tunes the filters Transform 2 Higher values raise Fc of lowpass filter F221 InHarMetric The peaks and notches in this filter are spaced evenly though not necess...

Page 241: ...he highest band effects are found with both set to 255 Morph Higher values tune the filters higher Freq Tracking Higher values tune the filters higher Transform 2 Notches if set below 127 peaks if above F227 HrmncPhsr2 Peaks and notches cross one another to produce a variety of phase shifter like sweeps Morph Increasing values move peaks lower notches higher Freq Tracking Higher values increase de...

Page 242: ...hen Transform 2 is at its maximum Morph moves from oo to ee when Filt Freq Track is at its maximum and moves from ah to ae when Filt Freq Track is at its minimum As the level of Transform 2 is reduced all the vowel colors regress towards the neutral schwa sound Controlling Transform 2 with velocity gives a natural vocal expression corresponding to increasing stress Morph Sweeps from oo and ee to a...

Page 243: ...rph Higher values increase bandwidth of filters Freq Tracking Tunes the filters Transform 2 Low values produce notches high values produce peaks INSTRUMENT FORMANT FILTERS These filters are to simulate the resonant characteristics of various types of instruments The Frequency Tracking parameter sometimes allows the filter to track specific harmonics although this may not normally occur on real aco...

Page 244: ...ike Cube Designed for use with Aux Envelope or Func Gen patched to Morph to give struck or plucked tones Front of Cube gives max brightness back of cube gives sine wave if Frequency Tracking is used Transform 2 controls the amount of this effect and can therefore be used for velocity informa tion Set Up Instructions Set Envelope Generator to Morph in Realtime Controllers Set velocity to Transform ...

Page 245: ...city response Set Key Center to C1 and Key to Filt Freq Track 64 in order to maintain appropriate pitch tracking Morph Controls timbre change picks out first overtone Freq Tracking Maintains harmonic filter tracking Transform 2 Determines brightness and volume F242 Swell Cube An easy cube for making swell like pads controlled by wheel Ctrl A or pedal Ctrl D Ideal for strings or choirs brought in b...

Page 246: ... Morph At low values contains a fairly mild low pass slope with slight peaks at 400 1200 4000 5200 8800Hz opening to a flat repsonse with slight peaks at 360 1280 4400 5120 and 8620Hz Freq Tracking Tracks filter over five octaves of keyboard Transform 2 Higher values reduce filtering effect until response is flat at 255 F247 Pluck 4 Morph Low Pass with steep slope and two bumps at 120Hz and 600Hz ...

Page 247: ...ntains cutoff frequency just above fundamental Transform 2 Adds overbrightness F251 ElGuit Pick Designed for use with electric guitar this filter mimics the effect of pick position on timbre All 8 filters in this cube are scaled for Keyboard Center C1 Filter Freq Track is used to track the filter Minimum Morph Min Transform 2 Represent the pick position very close to the bridge with the bridge pos...

Page 248: ...r quieter sound Set Up Instructions Set breath control to Morph in Realtime Control lers Set velocity to Transform 2 in Note On Controllers Set Key Center to C1 and Filt Freq Track 64 in order to maintain the softplay timbre difference with velocity Morph Determines brightness and volume representing effort of blow Freq Tracking Provides slight increase in upper register brightness maintains some ...

Page 249: ... 2 Higher values produce subtler effects F258 Wind Filter Morph At no offset has a lowpass response with select notches at 3 5 6 9 and 12kHz and a peak at 1kHz At 255 has a flatter response with notches at 200 300 550 800 and 870Hz and peak at 1kHz Freq Tracking Tracks keyboard Transform 2 Larger values reduce filter effect and flatten response F259 FlutBreth 4 Morph Peaks at 100Hz and 1200Hz with...

Page 250: ... of higher frequencies at low Morph offsets becoming flatter with higher Morph offsets Freq Tracking Tracks five octaves Transform 2 Not Used F265 Hip Kick Morph Adjusts slope of low pass response Freq Tracking Tunes filters Transform 2 Reduces overall lowpass effect F266 Cymbal Cube Useful for simulating the response of a cymbal to changes in drumstick location Morph Positions drumstick on cymbal...

Page 251: ...entuates lower frequencies as values increase Freq Tracking Eliminates low frequencies as values increased Transform 2 Reduces overall filter effect and flattens response F270 Auto Clang Morphing this one puts a couple of very pronounced and harmonically unrelated peaks and a notch or vice versa depending on setting for Transform 2 into the mix Good for adding extra overtones to bell patches but w...

Page 252: ...nsforms perform very subtly Transform 2 reduces shimmer effect Morph Modulates high frequency accents Freq Tracking Tracks Keyboard Transform 2 Reduces filter effect F275 Invisible Morph As Morph offset increases boosts at 70 and 269Hz and cuts at 167 560 and 810Hz reverse polarity peaks become notches and vice versa Freq Tracking Raises frequencies two octaves Transform 2 Reduces effect of filter...

Page 253: ...ll pass boost and results in a large peak at 130Hz Freq Tracking Tunes the filter Transform 2 Controls polarity and intensity of filter effect Well suited for sweep effects F281 Head Pan 1 Should be used on the primary instrument in conjunction with Head Pan 2 on the secondary instrument Together these two filter cubes mimic the directionally dependent filtering of the head and pinna external ear ...

Page 254: ...284 HeavyFilt 4 Morph Starts at 0 offset as a high shelving filter with a boost at 2 5kHz and resolves at 255 to a flat response with dips at 6 and 14kHz Freq Tracking Starts flat until a dip at 4kHz and tracks it up in frequency as offset is increased Transform 2 Not Used F285 Noiz Cube 2 A series of non harmonically related filter bands Can impart a woody quality to some sounds nice for organs M...

Page 255: ...ing is obtained with Key Center set to C1 and Key to Filt Freq Track 127 Morph Higher values increase Q Freq Tracking Tunes the filter Transform 2 Sweeps a single pole F288 AllPoleDst2 Warning This filter can easily overload Morph Sweeps the frequency of a single zero Freq Tracking Lower settings rolloff highs higher settings rolloff lows Transform 2 Higher values increase overall Q Z PLANE FILTER...

Page 256: ...f3 pizzbass a3 pizzcelli f1 pizzcelli f2 pizzcelli a2 pizzcelli f3 pizzcelli a3 pizzviolas g1 pizzviolas c2 pizzviolas g2 pizzviolas c3 pizzviolas g3 pizzvio g1 pizzvio c2 pizzvio e2 pizzvio g2 pizzviol c3 pizzvio e3 pizzvio g3 pizzvio c4 string b0 string e1 string a1 strings d2 strings g2 strings c3 strings f3 strings a3 strings d4 string g4 vox f2 vox a2 vox c3 vox d3 vox f3 vox a3 vox c4 vox d4...

Page 257: ...one a4 sawoddgone a5 square a3 square a4 triangle d4 triangle d6 msq1 g3 msq1 g5 msq1 c6 msq2 g3 msq2 g5 msq3 c6 msq3 g3 msq3 g5 msq3 c6 msq4 g3 msq4 g5 msq4 c6 msq5 g3 msq5 g5 msq5 c6 msq6 g3 msq6 g5 msq6 c6 mrt1 g3 mrt1 g5 mrt1 c6 mrt2 g3 mrt2 g5 mrt2 c6 mrt3 g3 mrt3 g5 mrt3 c6 mrt4 g3 mrt4 g5 mrt4 c6 mrt5 g3 mrt5 g5 mrt5 c6 mpw1 g3 mpw1 c5 mpw1 g5 mpw1 c6 mpw2 g3 mpw2 c5 mpw2 g5 mpw2 c6 mpw3 g3...

Page 258: ...et g3 mftrumpet c4 mftrumpet f4 mftrumpet b4 fftrumpet g2 fftrumpet c3 fftrumpet f3 fftrumpet a3 fftrumpet d4 fftrumpet g4 fftrumpet c5 icebell e5 icebell e6 bronzeage e3 bronzeage e6 ironplate d4 ironplate d6 aluminum d4 leadbeam b3 stelxtrct a4 stelxtrct a5 wntglass a3 wntglass e4 wntglass a4 wntglass a6 townbell c2 townbell c4 orchbells c2 orchbells c4 tubularse c4 tubularse c6 softbell e3 soft...

Page 259: ...tick808 cowbell808 clsdhat808 openhat808 claps808 ridecym808 deadairdeadair deadair multfrm1c kaleidoscope End chanter a1 chanter g1 bullroarer sprtcatchr digeridoo digeritone digeriscrm jewsharp a jewsharp b jewsharp c jewsharp d plexislap c bronzesaron suwukgong chinagong nepalcymbl tibetbowl steeldrum crotales d5 hulastick plexitone plexislapa plexislapb surdoopen likembe f3 likembebuz d3 log d...

Page 260: ...239 Chapter 11 Reference Section FUNCTION GENERATOR CURVES Linear Exponential 1 Exponential 2 Exponential 3 Exponential 4 Exponential 5 Exponential 6 Exponential 7 ...

Page 261: ...240 UltraProteus Operation Manual FUNCTION GENERATOR CURVES Circle 1 4 Circle 1 6 Circle 1 8 Circle 1 16 Squeeze Fast Line 1 Fast Line 2 Fast Line 3 ...

Page 262: ...241 Chapter 11 Reference Section FUNCTION GENERATOR CURVES Medium Line 1 Medium Line 2 Slow Ramp 1 Slow Ramp 2 Bloom Bloom 2 Circle 1 16 R Circle 1 8 R ...

Page 263: ... Slow Curve 1 Slow Curve 2 DC Delay Delay DC Curve 2x Curve 2x B DELAY DC WAITS FOR THE SPECIFIED TIME THEN OUTPUTS THE LEVEL DC DELAY OUTPUTS THE LEVEL THEN WAITS FOR THE SPECIFIED TIME BEFORE MOVING ON TO THE NEXT SEGMENT THESE TWO SHAPES ARE USEFUL FOR CREATING STEPPED MINI SEQUENCES ...

Page 264: ...243 Chapter 11 Reference Section FUNCTION GENERATOR CURVES Curve 2x C Ziz Zag 1 Ziz Zag 2 Ziz Zag 3 Chaos 03 Chaos 06 Chaos 12 Chaos 16 ...

Page 265: ...244 UltraProteus Operation Manual FUNCTION GENERATOR CURVES Chaos 25 Chaos 33 Chaos 37 Chaos 50 Chaos 66 Chaos 75 Chaos 95 Chaos 99 ...

Page 266: ...245 Chapter 11 Reference Section FUNCTION GENERATOR CURVES Linear Shuffle Linear Shuffle 2 Random B Random A Random C Random D Random E Random F ...

Page 267: ...246 UltraProteus Operation Manual FUNCTION GENERATOR CURVES Random G Random H Random I Random J Random K Random Z Random L ...

Page 268: ...mitone LFO PITCH INTERVALS 32 65 98 127 127 36 127 69 127 101 1 2 3 4 5 6 7 Display Semitone LFO RATES 000 5 10 15 20 25 30 40 50 60 80 127 052 1 6 8 1 33 1 8 2 2 3 3 7 10 16 25 Display Rate Hz THE PITCH INTERVALS CAN BE USED WHEN MODULATING PITCH ALL OTHER ATTENUATORS SHOULD BE SET TO 127 MULTIPLE PATCH CORDS CAN BE ADDED FOR GREATER PITCH INTERVALS ENVELOPE RATES 4 8 16 24 32 48 60 76 88 96 100 ...

Page 269: ...utput Impedance 1kΩ MIDI In Out Thru Data Encoding 16 bit Linear Sample Playback Rate 39 kHz Max Signal to Quiescent Noise 90 dB Dynamic Range 90 dB Frequency Response 20 Hz 15 kHz THD N 05 IMD 05 Stereo Phase Phase Coherent 1 at 1 kHz Filter 32 14 pole Z Plane Filters 32 LP Tone Filters Power Requirements 25 watts Dimensions H 1 75 W 19 L 8 5 Weight 6 lb 14 oz 3 1 Kg ...

Page 270: ...ap erases the associated edit buffer Transmitted Recognized Remarks Basic Channel Default Changed Mode Default Messages Note Number True Voice Velocity Note ON Note OFF After Touch Keys Channels Pitch Bender Control Change Program Change True Number System Exclusive System Common Song Pos Song Sel Tune System Real Time Clock Commands Aux Messages Local On Off Active Sense Reset No No 1 1 16 Memori...

Page 271: ... right All Sound Off Bn 78 00 turns all sound off Reset All Controllers Bn 79 00 ignored in omni mode All Notes Off Bn 7B 00 ignored in omni mode Omni Mode Off Bn 7C 00 forces all notes controls off Omni Mode On Bn 7D 00 forces all notes controls off Mono Mode On Poly Off Bn 7E 00 forces all notes controls off Poly Mode On Mono Off Bn 7F 00 forces all notes controls off Bank Select Bn 00 00 20 bb ...

Page 272: ... block one complete preset using system exclusive commands A preset data request may be issued by a host computer to which the machine will respond sending the data block for the requested preset Conversely the computer may send new preset data which will replace the specified preset currently in the machine Additionally a front panel command will transmit one or all user presets for backup onto a...

Page 273: ...8 Master Data Request Unused 0A Version Request 0B Version Data 0C Configuration Request 0D Configuration Data 0E Instrument List Request 0F Instrument List Data Unused 12 Preset List Request 13 Preset List Data Unused 44 Hyperpreset Request 45 Hyperpreset Data 46 Midimap Request 47 Midimap Data Unused 50 Hyperpreset List Req 51 Hyperpreset List Data 52 Midimap List Req 53 Midimap List Data 54 Eff...

Page 274: ...will be sent No data corrup tion in the box should occur PRESET REQUEST Request preset Uses preset index values not the same as program numbers Request for card presets will be ignored if card is not present Preset numbers are 0 127 RAM 128 255 ROM 256 319 CARD Values 0x0400 bank number represent request for banks Banks are blocks of 128 presets F0 SysEx Status Byte 18 E mu Mfg ID 0C UltraProteus ...

Page 275: ... on Source See PATCHCORDS SRC 26 Note on Dest See PATCHCORDS SRC 27 Note on Amount 128 to 127 10 note on cords 3 parms each 55 Realtime Source See PATCHCORDS DEST 56 Realtime Dest See PATCHCORDS DEST 57 Realtime Amount 128 to 127 10 realtime cords 3 parms each 85 Foot Dest See PATCHCORDS DEST 3 footswitch cords 1 parm each 88 Ctrl A Amount 128 to 127 89 Ctrl B Amount 128 to 127 90 Ctrl C Amount 12...

Page 276: ... number 210 L Hi Key 0 127 MIDI key number 211 L Volume 0 127 212 L Pan 7 to 7 213 L Course Tune 36 semitones 214 L Key Xpose 36 semitones 215 L Fine Tune 64 semitone 64 216 L AltEnv Enable 0 1 Off On 217 L AltEnv Attack 0 99 rate 218 L AltEnv Hold 0 99 time 219 L AltEnv Decay 0 99 rate 220 L AltEnv Sustain 0 99 level 221 L AltEnv Release 0 99 rate 222 L Loop Enable 0 1 Off On 223 L LoopStart MS 9...

Page 277: ...am numbers Request for RAM Card presets will be ignored if card is not present Hyperpreset num bers are 0 127 RAM 128 255 CARD Values 0x0400 bank number represent request for banks Banks are blocks of 128 Hyperpresets F0 SysEx Status Byte 18 E mu Mfg ID 0C UltraProteus Product ID dd Device ID 0 15 44 Command ID ll Hyperpreset Number ls byte mm Hyperpreset Number ms byte F7 End of SysEx Status Hype...

Page 278: ...Vel 0 127 68 Z Vel Offset 126 69 Z Xpose 36 keys 70 Z Coarse Tune 36 semitones 71 Z Fine Tune 64 semitones 64 Z zone 16 zones 11 parms each cs Checksum F7 End of SysEx Status Midimap Request Request midimap Request for card midimaps will be ignored if card is not present Midimap numbers 0 15 RAM 16 31 CARD the scratch map is accessed by requesting MASTER settings or individual parameter requests V...

Page 279: ...BERS 13 Ch Bank 0 4 See PROG NUMBERS for bank s 14 Ch Volume 0 127 15 Ch Pan 7 8 Preset 16 Ch Mix Bus 1 preset 0 3 Main Sub1 FxA FxB 17 Ch Enable 0 1 Off On 18 Ch ProgChg Enbl 0 1 Off On 19 Ch BankChg Enbl 0 1 Off On 20 Ch VolCtl Enbl 0 1 Off On 21 Ch PanCtl Enbl 0 1 Off On 22 Ch PWhl Enbl 0 1 Off On 23 Ch MPress Enbl 0 1 Off On 24 Ch PPress Enbl 0 1 Off On 25 Ch Ctl A Enbl 0 1 Off On 26 Ch Ctl B ...

Page 280: ... zero Individual parameter editing uses a unique parm number for each editable parm See PARAMETER NUMBERS chart for a listing of the param eters F0 SysEx Status Byte 18 E mu Mfg ID 0C UltraProteus Product ID dd Device ID 0 15 02 Command ID pl Parm Number ls byte pm Parm Number ms byte F7 End of SysEx Status Parameter Data The format of a parameter value request response is as follows This is the f...

Page 281: ...sEx Status Tuning Table Data F0 SysEx Status Byte 18 E mu Mfg ID 0C UltraProteus Product ID dd Device ID 0 15 05 Command ID bb Table Number only 1 table in UltraProteus ll ls byte of Tune Value mm ms byte of Tune Value 128 total entries F7 End of SysEx Status Program Map Request F0 SysEx Status Byte 18 E mu Mfg ID 0C UltraProteus Product ID dd Device ID 0 15 06 Command ID bb Map Number 0 3 F7 End ...

Page 282: ... mu Mfg ID 0C UltraProteus Product ID dd Device ID 0 15 08 Command ID F7 End of SysEx Status Master Settings Data A master settings request responds with streams of parmnumber parmvalue pairs in running status mode Two separate dumps are sent first global parms then scratch midimap parms F0 SysEx Status Byte 18 E mu Mfg ID 0C UltraProteus Product ID dd Device ID 0 15 03 Command ID pl lsb Parm Numb...

Page 283: ...e model version code and the software revision Different models and revisions may have more or less features so use the command to verify what machine is being controlled F0 SysEx Status Byte 18 E mu Mfg ID 0C UltraProteus Product ID dd Device ID 0 15 0A Command ID F7 End of SysEx Status Version Data F0 SysEx Status Byte 18 E mu Mfg ID 0C UltraProteus Product ID dd Device ID 0 15 0B Command ID 02 ...

Page 284: ...Description for information regarding the validity of this information F0 SysEx Status Byte 18 E mu Mfg ID 0C UltraProteus Product ID dd Device ID 0 15 0D Command ID pl lsb Number of Presets pm msb Number of Presets s1 Sound Set Rank A sl lsb Number of Insts Rank A sm msb Number of Insts Rank A s2 Sound Set Rank B sl lsb Number of Insts Rank B sm msb Number of Insts Rank B hl lsb Number of Hyperpr...

Page 285: ... description of the instrument number F0 SysEx Status Byte 18 E mu Mfg ID 0C UltraProteus Product ID dd Device ID 0 15 0F Command ID nl lsb Number of Instruments nm msb Number of Instruments il lsb Instrument Number im msb Instrument Number nn Instrument Name 11 ASCII Chars per Instrument 00 String Null Terminator for number of instruments F7 End of SysEx Status Filter List Request Request list of...

Page 286: ...Command ID nl lsb Number of Filters nm msb Number of Filters il lsb Filter Number im msb Filter Number nn Filter Name 11 ASCII chars per instrument 00 String Null Terminator tl lsb of Transform Number tm msb of Transform Number for number of filters F7 End of SysEx Status Preset List Request Request list of available presets See data message for format F0 SysEx Status Byte 18 E mu Mfg ID 0C UltraP...

Page 287: ...set List Request Request list of available Hypers See data message for format of response F0 SysEx Status Byte 18 E mu Mfg ID 0C UltraProteus Product ID dd Device ID 0 15 50 Command ID F7 End of SysEx Status Hyperpreset List Data Currently available Hypers in the order they appear in UltraProteus F0 SysEx Status Byte 18 E mu Mfg ID 0C UltraProteus Product ID dd Device ID 0 15 51 Command ID nl lsb ...

Page 288: ...they appear in UltraProteus F0 SysEx Status Byte 18 E mu Mfg ID 0C UltraProteus Product ID dd Device ID 0 15 53 Command ID nl lsb Number of Midimaps nm msb Number of Midimaps nn Midimap Name 12 ASCII Chars per Midimap 00 String Null Terminator for number of Midimap F7 End of SysEx Status Effect List Request Request list of available effects See the data message for the format of the response F0 Sy...

Page 289: ...A Effects il lsb Effect ID im msb Effect ID nn Effect Name 12 ASCII Chars per Effect 00 String Null Terminator pl lsb Effect Number of Parms pm msb Effect Number of Parms nn Effect Parm Name 11 ASCII Chars per Effect Parm 00 String Null Terminator vl lsb Parm Min Value vm msb Parm Min Value vl lsb Parm Max Value vm msb Parm Max Value vl lsb Parm Default Value vm msb Parm Default Value for number o...

Page 290: ...u are editing from the front panel also You can use a PARAMETER request to determine what the current edit buffer number is for each of the types F0 SysEx Status byte 18 E mu Mfg ID 0C UltraProteus Product ID dd Device ID 0 15 22 Command ID dd Buffer type 0 Preset 1 Stack 2 Midimap Dest number 0 MAX for each type F7 End of SysEx Status Parameter Numbers Additional parameter numbers 320 current mid...

Page 291: ...scription Value 0 Key 1 Velocity 2 Pitchwheel 3 Control A 4 Control B 5 Control C 6 Control D 7 Mono Pressure 8 Free run Function Generator The realtime patchcord sources valid for UltraProteus are as follows MIDI Description Value 0 Pitchwheel 1 Control A 2 Control B 3 Control C 4 Control D 5 Mono Pressure 6 Poly Pressure 7 LFO 1 8 LFO 2 9 Auxiliary Envelope 10 Function Generator 1 11 Function Ge...

Page 292: ...re as follows MIDI Description NO RT Value Availability 0 Off RT NO 1 Pitch RT NO 2 PitchP RT NO 3 PitchS RT NO 4 Volume RT NO 5 VolumeP RT NO 6 VolumeS RT NO 7 Attack RT NO 8 AttackP RT NO 9 AttackS RT NO 10 Decay RT NO 11 DecayP RT NO 12 DecayS RT NO 13 Release RT NO 14 RelP RT NO 15 RelS RT NO 16 XFade RT NO 17 Lfo1Amt RT NO 18 Lfo1Rt RT NO 19 Lfo2Amt RT NO 20 Lfo2Rt RT NO 21 AuxAmt RT NO 22 Au...

Page 293: ...mt RT NO 44 FG2Amt RT NO 45 FltLev NO 46 FltLevP NO 47 FltLevS NO 48 FreqTrk NO 49 FreqTrkP NO 50 FreqTrkS NO Function Generator Shapes The function generator shapes are as follows MIDI Shape Value Name 0 Linear 1 Expo 1 2 Expo 2 3 Expo 3 4 Expo 4 5 Expo 5 6 Expo 6 7 Expo 7 8 Circ1 4 9 Circ1 6 10 Circ1 8 11 Cir1 16 MIDI Shape Value Name 12 Squeeze 13 FastLn1 14 FastLn2 15 FastLn3 16 MedLn1 17 MedL...

Page 294: ...5 ZizZag3 36 Chaos03 37 Chaos06 38 Chaos12 39 Chaos16 40 Chaos25 41 Chaos33 42 Chaos37 Function Generator Conditions The function generator condition values are shared between preset funcgens and hyper funcgens though some values are excluded in the hyper func gen The chart shows the numbers and the availability MIDI Description Availability Value 0 Never Preset Hyperpreset 1 AlwaysEnd Preset Hype...

Page 295: ...e level types are defined as follows MIDI Description Value 0 absolute level 1 delta level 2 random absolute level 3 random delta level Filter Types Use the FILTER LIST command to get a list of the currently available filter names ids and transform number the filter type number sent via sysex are unique ids they are not the index into the screens The transform number is used to determine the activ...

Page 296: ...ct StereoFlange does not have the same ID as the B effect StereoFlange Parameter Numbers The following parameter numbers are in decimal Parm Parm Range Number Description 0 128 Proteus Preset Parms 256 Basic Channel 0 15 257 Channel Volume 0 127 258 Channel Pan 7 8 P 259 Current Program 0 MAXPROGRAM 260 Master Tune 64 Semitones 261 Master X pose 12 Midi Keys semitones 262 Global Bend 0 12 Semitone...

Page 297: ...RESET DATA Instrument Numbers Use the INSTRUMENT LIST commands to get a list of the IDs and names as they appear in the box Instrument numbers are comprised of two bitfields romset 8 index bits 8 13 romset number bits 0 7 is an index into the romset The UltraProteus contains romsets number 9 10 Instrument numbers start at 2304 for romset 9 and 2560 for romset 10 Program Numbers The mapping of prog...

Page 298: ...28 divide and use only the remainder To go the other way convert 14 bit signed 2 s complement to a signed real number raw Value msb 128 lsb gives you the unsigned raw value if raw Value 8192 8192 2 13 then signed Value raw value 16384 16384 2 14 Example To find the nibble ized Hex value of 127 1 127 16384 16257 2 16257 128 127 r1 3 127 in Hex 7F msb 4 1 in Hex 01 lsb 5 Parameter value would be tra...

Page 299: ...set parameters is 8192 page 276 Add these numbers to get the actual parameter number 8192 93 8285 4 Now the parameter number must be converted into 14 bit 2 s complement in order to fit into the MIDI format The instructions are given on the previous page but we will go through the process again a 8285 128 64 r93 b 64 in Hex 40 msb c 93 in Hex 5D lsb 5 The least significant byte is always sent firs...

Page 300: ...28 2 r2 b 2 in Hex 02 msb c 2 in Hex 02 lsb 2 The least significant byte is always sent first The MIDI SysEx string now looks like this F0 18 0C 00 03 02 02 XX XX F7 We re still missing the value data to select the pan position 3 From the table on page 275 you can find out that 8 corresponds to Preset Pan For negative numbers add 16384 to the original negative value 16384 8 16376 page 277 4 Next w...

Page 301: ...he message The Midimap offset numbers shown on pages 258 259 must be added to the base offset in order to get the actual parameter number 3 The Midimap parameter list shows FXA Amount as 355 page 259 The base offset number for Midimap parameters is 2048 page 276 Add these num bers to get the actual parameter number 2048 355 2403 4 Now the parameter number must be converted into 14 bit 2 s compleme...

Page 302: ...t 112 Crossfade balance 112 Crossfade direction 112 Crossfade mode 111 Cursor 13 D Data entry control 13 DCA 93 Decay 73 144 Delay 50 53 73 Demo sequence select 13 Demo sequences 16 Dimensions 248 Dipthong filters 182 Distortion effect 54 Distortion filters 214 233 Double Detune 106 144 Drawbar diagrams 169 Drum priority 110 E Early reflection 43 Editing presets 69 139 Effects 37 Effect bus archit...

Page 303: ... transpose 63 Zone velocity offset 63 Zone velocity range 62 Zone volume 61 Hyperpreset menu select button 12 Hyperpreset name 60 I ID number 22 Instruments 4 93 140 164 170 J Just C tuning 126 K Key number 96 Key range 61 103 Key velocity 71 Keyboard center 126 Keyboard key 71 Keyboard pressure 71 Keyboard tuning 126 L Last note priority 110 Layered keyboard 104 LFO 47 75 117 147 Variation 117 Wa...

Page 304: ...dance 248 Output level 214 Output mix 31 P Pan 61 93 Parametric filters 87 217 Percussion instrument locations 173 177 Percussion instruments 166 167 Performance setup 7 Phaser 48 Pitch tune 63 Pitch wheel 124 Pitch bend range 124 Pitch wheel 71 Plates reverb 43 Poles 86 Poly mode 22 Polyphonic key pressure 71 Portamento 110 Portamento mode 64 111 Portamento rate 110 Portamento shape 110 Power 8 P...

Page 305: ...wave 75 Studio setup 6 Sub 1 2 8 Sustain 73 144 Synth mode 109 Synthesizer waves 169 Sysex 24 251 280 T Tap level 50 Technical specifications 248 Tone 84 93 Tone filter 84 93 Tracking filter freq 90 114 Tracking filters 216 Transform 2 152 Transpose 19 63 105 Tremolo 75 Triangle LFO wave 75 Tuning Coarse fine tuning 63 105 Tuning to other instruments 19 User key tuning 20 126 U User key tuning 20 ...

Page 306: ...acement of the unit at E mu s option In no event shall E mu Systems be liable for damages based on inconven ience whether incidental or consequential loss of use of the unit loss of time interrupted operation or commercial loss or any other consequential damages Some states do not allow limitation of the duration of implied warranties or the exclusion or limitation of incidental or consequential d...

Page 307: ...286 UltraProteus Operation Manual NOTES ...

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